Category: Reviews

Posted on by Lauren Katulka

“Ghost Melodies” – Dan Flynn

The older I get, the faster time seems to pass. Two years felt like an eternity when I was younger, but now it seems to pass in the blink of an eye. When time appears to pass so quickly, hearing the music an artist you enjoyed a couple of years ago is making now can seem jarring. But as I’ve learned listening to Ghost Melodies, the latest effort from Dan Flynn, evolution can be a good thing.

I must admit, this isn’t an album I immediately warmed to. Dan’s mellow folky sounds seemed to be buried underneath synthesizers, and I wasn’t sure how I felt about. The electronic sounds seemed at odds with his hushed, soothing voice, and I wasn’t sure how I felt about it. Yet I found myself coming back to Ghost Melodies. It’s taken me about a week, but I think I’m on board.

That’s not to say that every song is a success for me. The opening songs, “Get Ready for a Fight” and “Everything He Does” still haven’t revved me. The music has such an energetic pop feel that Dan’s gentle vocals don’t quite match. But then with “Across the Wire,” a more mellow, dramatic number, I think everything fell into place. The following song, “This Too Shall Pass,” has a great groove reminiscent of The Temper Trap that I also love.

Dan hasn’t abandoned his folk roots completely. The songs still have a folk undercurrent, although often that gets lost in the instrumentation. “One Eye Open” is a return to the finger-picking acoustic driven songwriting I first fell in love with though. The Johnny Cash-inspired “Man I Have Become” is similarly stripped back. These songs have such a nostalgic feel, and I’m thankful for their inclusion, even if they don’t quite seem like they fit on this album.

“Last Waltz,” the final track on Ghost Melodies, is another daring left turn, a simplistic love song that you might imagine your grandparents slow dancing to. It’s an interesting progression from “This One’s For You.” On the surface, the two songs don’t seem to have a lot in common: one a lush synthesized charmer driven with big booming drums, the other much more restrained and nostalgic. However, at their core they’re both waltzes. Once you make peace with that, the juxtaposition makes so much sense.

Dan Flynn takes some real risks with Ghost Melodies. The results don’t always resonate with me, but when the gambles pay off it’s so rewarding. Listening to this album can be challenging, but I’d rather that than hearing something that plays it too safe. Ghost Melodies is available from September 15.

Image used with permission from Dan Flynn

Posted on by Lauren Katulka

“Go Farther in Lightness” – Gang of Youths

I often feel a little out of step with the rest of the music-buying public. I’m always excited when an Aussie act tops the chart, but it’s rarely what I happen to be listening to at the time. However, I’ve been listening to an advance stream of Gang of Youths’ Go Farther in Lightness for the last couple of weeks now. So when I saw the album at number one this week, there was a little added satisfaction.

I’m thrilled to see this album doing so well because it’s so very good. It’s ambitious, as the best albums tend to be. At 16 tracks, it’s a lot to digest. That’s my excuse for not writing about it until now. It took me that long to gather my thoughts and put them together into something legible. Because this album really is a trip. Few other records would be brave enough to open with a song like “Fear and Trembling,” which starts as a simple, stripped back piano ballad before building into a fists-in-the-air piece of power-rock. But that really sets the tone for what this collection of music is all about.

Gang of Youths is so good at making those bold, confident rock songs, but there’s so much more to this band. Just when you start thinking you’ve got things figured out, the album throws you a curveball like the classically-inspired instrumental “Le Symbolique” or the epic ode “Achilles Come Down.” Introspective ballads like “Persevere” and the poignant title track also give you time to catch your breath after some of the high-octane rock songs. Your only choice is really to hang on as the band twists and turns.

An album so eclectic could easily become muddled or lack coherency, but somehow Go Farther in Lightness all works. It shows Gang of Youths to be one of the most exciting bands in Australian music today. See them at the following shows in Australia and abroad.

1 September 2017 – The Tivoli, Brisbane (SOLD OUT)
6 September 2017 – Festival Hall, Melbourne (ALL AGES)
8 September 2017 – Hordern Pavilion, Sydney (ALL AGES)
13 September 2017 – Odeon Theatre, Hobart (ALL AGES)
15 September 2017 – Thebarton Theatre, Adelaide (ALL AGES)
16 September 2017 – Metropolis Fremantle, Fremantle
9 October 2017 – La Boule Noire, Paris
10 October 2017 – Sugar Factory, Amsterdam
11 October 2017 – Musik & Frieden, Berlin
12 October 2017 – Ampere, Munich
13 October 2017 – Artheater, Cologne
15 October 2017 – Exchange, Bristol
16 October 2017 – Headrow House, Leeds
17 October 2017 – Stereo, Glasgow
18 October 2017 – Gullivers, Manchester
19 October 2017 – Electric Ballroom, London

Image used with permission from Sony Music Australia/Verge

Posted on by Lauren Katulka

“Daydreaming” – Hunter deBlanc

Spend enough time in Australia and we’ll claim you as our own. We don’t care that Keith Urban is a Kiwi living in Tennessee or that Barry Gibb is a Brit who divides his time between Florida and Buckinghamshire. So perhaps it’s not so surprising that by the time he completed his first contract entertaining crowds in the Pacific Jewel’s piano bar, Hunter deBlanc’s local fans were already calling him an honourary Aussie. With another P&O stint coming soon after the release of his new EP Daydreaming, the Australian fan base of this Louisiana native is sure to grow.

At a time when concept albums have gone out of vogue, Daydreaming proudly owns the title, exploring themes of day, night, time, and space. “Dawn” is a clever introduction, an instrumental number which seamlessly weaves together melodies from the rest of the EP, like the overture of a musical but so much more modern. “Breaking Out” is one of the strongest tracks in my opinion, an infectiously catchy song about leaving society’s expectations behind and chasing your dreams. The calypso flavour of “When the Sun Goes Down” is the perfect antidote for the gloomy Australian winter weather still lingering. The next song, “Back 4 More,” is a real pop gem which Hunter explores with four different versions on this release. Each one reveals a different side to the song, but my favourite is the stripped back take that closes Daydreaming. Without all the studio wizardry, it’s much more emotionally charged than the remixes or even the original version. If you’re not listening closely, “Night Noises V2” seems almost like a Halloween novelty, with its references to skeletons and spiders and samples from vintage horror films. It can be appreciated on that level, but tune in to those lyrics and you’ll discover this introspective song is so much richer. After several upbeat power-pop tracks, the romantic “Daydreamer” really stood out to me. It’s such a gorgeous song, with an easy groove and some of the EP’s most poetic lyrics. Starting with “Dawn,” it’s only fitting that we later hear “Dusk,” which serves as the EP’s outro. It lasts for only a little more than a minute, but this slice of piano-pop perfection leaves an enduring impression.

Daydreaming challenges the notion that concept albums have had their day. The themes are explored thoughtfully and the songs fit together so cohesively. I’d heard many of these tracks before through Hunter’s Spotify page, but I’ve grown to appreciate them more hearing them in the context of this EP. Hunter builds on the piano skills he showcased to local audiences on the Pacific Jewel, using them as a launch pad for sonically complex electronic soundscapes. He also shows that while he can perform a cover like nobody’s business, his songwriting skills shouldn’t be underestimated.

Pre-order your physical copy of Daydreaming through pre-order through Hunter’s website. He’ll launch the EP for hometown fans at Lafayette’s Feed & Seed on September 8 before returning to Australia. Aussie music lovers can catch Hunter on the Pacific Aria for four months from September 22.


Image used with permission from Hunter deBlanc

Posted on by Lauren Katulka

Glenn Shorrock @ Ettalong Diggers, Ettalong Beach – 11 August 2017

When Lizotte’s closed its doors at Kincumber, I was worried I might need to travel to Sydney or Newcastle to see great live music. However, a handful of other venues have stepped up and filled the void. I don’t feel quite as pampered heading out to Ettalong Diggers. The meals are fairly standard pub fare (although improving with a new chef!) and the wine list isn’t quite as refined. The auditorium doesn’t have the Cubby House’s ambience either. However, Ettalong Diggers is doing enough to attract performers like Glenn Shorrock, which gives it a big tick in my book.

One thing I do admire about Ettalong Diggers is the commitment it shows to the artists it books regularly. The local musos who slog it out in the main bistro area, competing for attention with meals, boisterous conversation, and footy on the big screen. Rather than looking elsewhere for a support act, organisers chose local favourite Shane Edwards. He’s far from a household name but the oldies who frequent the club love him, whether he’s playing a relatively modern song like Keith Urban’s “Somebody Like You” or tackling an operating classic like “Nessun Dorma.” He seems to do it all effortlessly, even while flirting with clearly besotted senior citizens!

With the crowd well and truly warmed up, it was Glenn Shorrock’s turn to hit the stage. The man is a true living legend who’s brought us some of Australia’s most beloved songs during his time in The Twilights, Axiom, and of course Little River Band. His set touched on hits from all those years in the business. If you were waiting for a “loo break” song you weren’t going to find it. There were no lulls here; just a whole lot of singalong fun.

So many years in the business seem to have taken a toll on Glenn. He sat down for much of the set, resting his legs for those numbers that called for a dance break. The years might have wearied his body, but his voice is still on point. Supported by an excellent band, you couldn’t hope for the show to sound better. The enthusiastic Ettalong crowd were in raptures, singing along to every song and clapping and cheering as it finished, only to eagerly await the next one. When Glenn was saying his goodbyes we were having none of it, and so he obliged with an unexpected finale, The Beatles’ “Carry That Weight.”

I looked around the auditorium as we filed out and saw so many smiling faces. What Glenn does isn’t particularly flashy, but he does it so well.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Backroads” – Ollie Brown

I need to ease myself into a Monday. It takes some gentle prodding to get me going. I’ve found just what I need though with Ollie Brown’s beautiful new EP Backroads.

Honestly I can’t tell you how many times I’ve listened to it this morning. There are just four tracks, so the number is probably quite high. I just know that whenever the last song, “Don’t Call,” fades out I’m ready to do it all again.

Backroads has got such a lovely folk-Americana feel to it. Think acoustic guitars, slide guitars, and easy vocals. It goes down so easily. “Backroads,” the title track and current single, gives you a little taste of what I’m talking about.

It’s such a great song, but in my opinion it’s not even the best the EP has to offer. For me that honour goes to “Blame It On the Moon,” the perfect road trip soundtrack with its driving beat and singalong chorus. Or perhaps “Halfway Home,” with its poetic lyrics and gentle piano. Either way, Sydney-based Ollie has created some really special songs on this EP which he says “is the most open and honest” he’s ever been.

Ollie Brown releases Backroads on October 8.

Posted on by Lauren Katulka

“Live at the Sydney Opera House” – Kate Miller-Heidke

I see a lot of shows, but the ones at the Sydney Opera House backed by the Sydney Symphony Orchestra are always the most special. I’ve seen several over the years by diverse artists like Ben Folds, Conchita Wurst, and most recently Praying for Time, a star-studded tribute to David Campbell. On those nights I wish I often wish I could freeze the moment, because the music I’m listening to is invariably that good. Kate Miller-Heidke has in a way, releasing her new album Live at the Sydney Opera House today.

Kate Miller-Heidke has always been one of Australia’s most special performers. She has the voice of an angel, a quirky sense of humour, such talent for songwriting and composing. All that is showcased here with a set that celebrates the breadth of her artistry. The big singles like “Words,” “Caught In the Crowd?” “Can’t Shake It,” and the closer, “Last Day on Earth” are all here of course, reminding us just how much we loved them when they were on the charts. “O Vertigo,” the title track of her fourth album and one of my favourite songs from Kate, is a masterclass in vocal technique. Tracks like “You’ve Underestimated Me, Dude” and “Are You Fucking Kidding Me?” are every bit as biting as they should be. I was also thrilled to hear a few songs from The Rabbits, an opera Kate composed for children, made the cut.

Kate’s voice is perfectly on point through this album, but it’s the contributions of the Sydney Symphony Orchestra that take her songs to the next level. Her music is already dramatic, and the swell of the orchestra gives it that extra degree of gravitas. I’d heard most of the songs on this album before, but this album made me appreciate them that much more.

As someone who wasn’t at this show, I’m so glad Kate Miller-Heidke has chosen to share it with fans around the country. If you were there, this album makes the perfect souvenir of what was clearly a special night.

Image used with permission from Revolutions per Minute

Posted on by Lauren Katulka

“Beautiful: A Tribute to Carole King” – Various Artists

With the stage musical Beautiful opening in Sydney next month, it seems Australia is falling in love with Carole King all over again. Carole King covers were sung at the recent Helpmann Awards, and now we have the release of Beautiful: A Tribute to Carole King, featuring some of the best-known names in the Aussie music industry.

Covers albums like this are always a bit uneven. Invariably some performances shine brighter than others. Sometimes treatments are right on the money, and other times they can leave you just a little cold. However, when you’re working with the music of someone as talented as Carole, you’re already ahead of the game in my opinion.

This album probably has more standout performances than the average album of its type. It starts with Esther Hannaford’s performance of “Beautiful,” a track that reminds you exactly why she scored the coveted lead in the stage production. There’s an earthiness about her voice that’s so reminiscent of Carole’s own unique tone. It was only a few months ago that Vika Bull was performing the songs of Tapestry live, so it’s unsurprising that her versions of “(You Make Me Feel Like A) Natural Woman” and “The Loco-Motion” (which also features her sister Linda), are first class. Dami Im, ever the consummate professional, delivers a knock-out blow with “Will You Still Love Me Tomorrow,” capturing the love and uncertainty in those lyrics beautifully. I haven’t heard much from Jack Jones and Stan Walker in recent years, but their versions of “No Easy Way Down” and “Way Over Yonder” respectively reminded me how much I’ve always loved what they do. Excellent.

Not every cut is a hit though. As I listened to Guy Sebastian’s version of “You’ve Got a Friend” I was reminded how much I enjoy James Taylor’s more introspective take. There’s just a little too much going on here for my taste. But keep in mind, I’m in the minority of people who prefer Carole King’s version of “(You Make Me Feel Like A) Natural Woman” to Aretha Franklin’s. There’s no denying the man can sing. Ditto the boys from Human Nature, who are among the best male vocalists this country has produced. However, their take on “One Fine Day” takes the song’s already kitschy vibe to the extreme. It’s lost its heart somewhere in the treatment and it’s a real shame. “I Feel The Earth Move” just feels like the wrong song for Samantha Jade. I’m not sure what I would have given her, but with such strong instrumentation her delicate voice gets a little lost.

It’s not a perfect homage to Carole King, but there are some really special moments on Beautiful: A Tribute to Carole King. It also serves as a timely reminder just how good Carole’s music is.

Beautiful: A Tribute to Carole King is in stores now.

Posted on by Lauren Katulka

Pseudo Echo & 1927 @ The Entrance Leagues Club, Bateau Bay – 21 July 2017

As a child of the ’80s, Pseudo Echo and 1927 are two local bands I’ve always enjoyed. I saw Pseudo Echo supporting Culture Club in the ‘90s, but it’s been an awfully long time between drinks. Timing always seemed to be against me when it came to catching 1927, but the stars aligned when both ’80s powerhouses graced the Entrance Leagues Club last Friday night.

The first thing that struck me when Pseudo Echo took the stage was how much the line-up has changed. Lead singer Brian Canham is still out front, but his band mates are much younger these days. I couldn’t help but think of Anthony Field, and the way he is still waving the Wiggles flag yet looking a little out of place in his merry band of skivvy wearers. There’s a similar strangeness about the way this band is put together these days. Yet despite that, Brian still clearly believes in what he does. He delivers Pseudo Echo’s back catalogue with passion that is so infectious. I found myself remembering songs I hadn’t listened to in years like “A Beat for You” and “Listening,” singing along with lyrics that were buried somewhere deep in my brain. Covers of “Nutbush City Limits” and “Send Me An Angel” delivered more of the nostalgia the crowd was desperate for. I don’t think there was a person standing still when the band broke into “Funky Town.”

Pseudo Echo got my feet moving, but 1927 moved my heart. It doesn’t seem so long ago that I was swooning over Eric Weideman as I watched Rage in the morning. Watching their set took me right back. It seems Eric is the last man standing in 1927 too, but the line-up he’s assembled feels a bit more cohesive. They’re so tight, a real band rather than just players supporting a singer. Their set felt less like revelling in nostalgia and more like just catching up with a band still in the height of their fame. Perhaps the difference is the songs, which don’t sound nearly as dated as Pseudo’s synth-heavy numbers. Lyrically, 1927 has always had a bit more depth too. I felt myself getting choked up singing along with the crowd on tracks like “Compulsory Hero” and “If I Could.” I’d forgotten how much I loved “Tell Me a Story” and “You’ll Never Know.”

I entered the Entrance League Club thrilled to see both bands, but it was 1927 that really impressed me. Pseudo Echo were fun, but I don’t think I’ll rush to see them again. 1927 though … the next tour can’t come quickly enough.

Pseudo Echo and 1927 are still touring around the country together. You can catch them at their remaining shows.

5 August 2017 – The Tivoli, Fortitude Valley
11 August 2017 – Harvey Road Tavern, Clinton
12 August 2017 – Dalrymple Hotel, Garrett
18 August 2017 – Anita’s Theatre, Thirroul
19 August 2017 – Wenty Leagues, Wentworthville
25 August 2017 – Wrest Point Casino, Hobart
26 August 2017 – Country Club, Launceston

Image source: Stephen Katulka

Posted on by Lauren Katulka

“61-615” – O’Shea

I’ve been listening to O’Shea’s new album 61-615 for the past two weeks now. I start taking notes to write a review, but invariably I find myself losing myself in the music rather than analysing it. Perhaps that’s as it should be.

This album has all the polish you’d expect from a duo now based in Nashville. It’s also got a greater cross-over appeal than many of the recordings we hear from Australian country acts. It’s not that this duo is ashamed of its country roots, but the recording isn’t alienating to people like me who don’t consider themselves country music fans.

The album opens with “Start Over,” the lead single that reached the top spot on the Australian country music charts. Listening to it now, in the context of the album, I’m struck by its power, which hasn’t diminished with subsequent listens. The song sets the tone for an album that isn’t afraid to tackle some big emotions.

“Just Got Real” is one of those emotional songs that really strikes a chord with me. Its astute lyrics about the start of a relationship and the flood of emotions that come with it take the listener back to times in their own lives they stood on the precipice of something great, yet frightening. “I Will Not Give Up,” a song of real grit, determination, and beauty, also packs a real emotional punch.

O’Shea seems most comfortable with the big, emotive ballads, but songs like “Karaoke and Carona” show this duo knows how to have some fun. This playful song, which sounds like it deserves to be played in a Southern dive bar, is a real standout. A cover of Little River Band’s “Playing to Win” with guest vocals from Aussie The Wolfe Brothers and Travis Collins, is also bags of fun.

While the guest performances are welcome, I love the interplay of O’Shea’s voices most. That connection that comes with being a real couple translates into something special whenever they’re singing together, whether it’s on a playful upbeat number or a song with a bit more emotional meat.

It’s a shame we’ve lost O’Shea to the United States, but it seems the twosome hasn’t forgotten its roots. O’Shea is back in Australia to support the album’s release with the following shows. 61-615 is in stores now.

28 July 2017 – Leadbelly, Newtown
29 July 2017 – Centro CBD, Wollongong
30 July 2017 – Live n Cookin’ at Lizottes, Newcastle
3 August 2017 – Black Bear Lodge, Brisbane
4-11 August 2017 – Tunes in the Tropics, Fiji
12 August 2017 – Mt Isa Rodeo, Mt Isa

Posted on by Lauren Katulka

Maxine Jones & Greg Gould @ Crowne Plaza, Terrigal – 18 July 2017

Living on the Central Coast, we don’t get a lot of big name musical acts. Aussie bands will occasionally stop by, but locals usually have to head to Sydney or Newcastle to see international artists. And a free show? It’s virtually unheard of. So when I heard that Maxine Jones from En Vogue was set to perform with our own Greg Gould at the Crowne Plaza in Terrigal last Tuesday night, I was a bit floored. Our Crowne Plaza? And for free? I wouldn’t normally venture out on a Tuesday night, but I couldn’t resist.

I must admit, when I stepped into the Lord Ashley Room, I wondered whether I was in the right place. The small stage, with its kitschy gold backdrop, hardly seemed befitting of soul royalty like Maxine. I’ve never been to a gig where employees were scrambling to find seats for people, pulling in couches and chairs from neighbouring rooms! The Facebook event said it all kicked off at 6, but hours later I was still waiting. That did give me time to savour the delicious wine and tapas the venue offered though.

This show was really worth the wait though. Although it was modest in presentation, the talent of both Maxine and Central Coast local Greg Gould shone through. Greg put me onside from the get go with a cover of “Euphoria,” a Eurovision winner from Sweden’s Loreen, that he dedicated to LGBTQI people still struggling for acceptance and love. I must admit, I missed Greg’s stint on Australia’s Got Talent, but I was wowed by him. What a talent the Central Coast has produced. Greg could have enjoyed more time in the spotlight, but he graciously stepped aside for Maxine to remind us all exactly what we love about her. I didn’t expect to hear “Free Your Mind” brought out so early, but she slayed it. Her voice has lost nothing over the years and her attitude is every bit as fierce.

Greg and Maxine graciously shared the stage for the rest of the evening, alternating between taking the lead and contributing back-up vocals. They sang like divas but certainly didn’t have the attitudes we associate with the term. Clearly appreciative of one another’s talents, they seemed happy to step back and take in what the other could do.

Greg treated us to a mix of his superb originals and covers of soulful songs like “Lay Me Down” and “American Boy.” Maxine’s work with En Vogue left her plenty of solo material to play with, but her cover of “Imagine” showed a deeper, more emotional side of this sassy performer. They came together for duets a couple of times, first to close the first set and again to close the night. I hadn’t heard their new single “Do You See Me Now” before, but I was spellbound by it. “Don’t Let Go,” the song Maxine made famous with En Vogue, was much more familiar to me, but hearing what Greg brought to the track helped me experience it with fresh ears.

Greg and Maxine will tour Europe and the United States together. If you get the chance to see them play together, take it. Nights enjoying voices like these are so rare and so special.

Image source: own photo