Category: Reviews

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

Posted on by Lauren Katulka

Kinky Boots @ Capitol Theatre, Sydney – 15 July 2017

With just a few weeks left of its Sydney run, I finally caught Kinky Boots at the Capitol Theatre recently. This was one of those musicals I knew I had to see. It ticked so many boxes for me. It was based on a movie that thoroughly charmed me. Cyndi Lauper, one of my greatest musical idols, wrote the songs. Harvey Feirstein, another one of the world’s special talents, wrote the book. It promised glitter, sequins, and pizzazz. Tick, tick, and tick. My expectations were high, yet this very special production exceeded it.

If you’ve seen the movie, you’re already familiar with the story. Boy grows up around his father’s shoe factory, but wants to carve out his own destiny rather than living his dad’s life. Father dies. The boy, now a man, is torn between his desire to find his own path and his wish to save his father’s legacy. He discovers he can do both when he breaks with tradition and turns his father’s factory into the most fabulous production facility for drag queen boots. Throw in a love triangle and a touching friendship between two very different principle leads and you get the idea.

The story of Kinky Boots is a simple one, but it’s one with real heart. Cyndi Lauper builds on the tale beautifully with one of the best original music soundtracks I’ve heard in some time. Needless to say, I bought the CD before I left the theatre. The building blocks are there, but the Australian production has helped this music live up to its potential. Toby Francis’ Charlie is sweet yet complex. Sophie Wright as Lauren is endearing and so relatable. Teagan Wouters’ Nicola is frustratingly self-absorbed, but she plays the piece’s villain well. But it is Callum Francis as Lola who fittingly steals the show. He understudied the role in London but he’s now relishing the spotlight. Every time he was on the stage, I couldn’t take my eyes off him. What a talent he is.

If like me you’ve procrastinated about getting your tickets, do not delay. Kinky Boots is a special musical. The songs are first rate, the actors incredible, and the story one that nourishes your soul. Don’t miss it. It closes in Sydney in August, when it hits the Brisbane’s Lyric Theatre.

Posted on by Lauren Katulka

George Michael: Praying for Time @ Sydney Opera House, Sydney – 7 July 2017

I remember so vividly the punch to my gut that came on Boxing Day morning last year. My phone alerted me to a news report which told me George Michael had passed away. I can’t remember what I said, but I remember the way my knees buckled. I was still reeling from losing Prince in April and now another of the musical figures who had shaped me was gone.

George might be gone but his music lives on in the albums and live performances like George Michael: Praying for Time, a start-studded tribute night staged at the Sydney Opera House last week. On paper artists like David Campbell, Diesel, Sam Sparro, and Brendan Maclean are very different. But George Michael was one of those artists of such breadth that entrusting his music to such a wide range of artists was essential I think. These four musicians largely took the lead, supported ably by Gary Pinto, Jade McRae, Carmen Smith, Natasha Stuart, and the always incredible Sydney Symphony Orchestra. The supporting players were mostly relegated to back-up vocals, but each had time to shine. Aretha Franklin set a high bar, but Jade McRae filled her shoes admirably when she duetted on “Knew You Were Waiting For Me” with David Campbell. The three women showed they could become the next big female vocal group if they ever wanted to with super-tight renditions of “Fast Love” and “Too Funky.” Gary Pinto showed a side of him I never saw in CDB with a killer version of “Wham Rap.”

I’m a long-time David Campbell fan, and his takes on iconic tracks like “Kissing a Fool” and “Careless Whisper” was flawless. I wasn’t so sure how Diesel’s rougher rock vocals would sit on George’s smooth tracks, but listening to him cover songs like “Waiting for that Day” and “Praying for Time” made so much sense. Sam Sparro’s cover of “Spinning the Wheel” hit just the right emotional note. I was familiar with the work of all these artists, except Brendan Maclean who proved to be the biggest revelation for me. Fabulously camp and committed, he had in his diverse cover versions. Watching him sing into the mirror for “Older,” my heart broke. But soon enough he was there in ‘80s acid wash overalls delivering a high-energy rendition of “Monkey.” When he paired up with Sam Sparro for “Outside,” it was every bit as flamboyant and defiant as the song should be.

As a long-time fan, I loved that this show celebrated the breadth of George’s artistry. It went beyond the commercial hits that Anthony Callea’s tribute concert showcased a couple of years ago and brought us many of the album tracks fans like me and the artists on stage hold close to our hearts. My mum attended the show, standing in for my sick husband. Even though I blasted George’s music while I was growing up, it was something she never really absorbed. She leaned over to me at one point and asked “Did George Michael write all these songs?” She told me that for the first time, she realised he was much more than simply a pop singer.

I like to think the audience was made up of people who loved George and people who were fans of the artists on the bill who got the opportunity to truly discover George’s music for the first time. If it was, looking at all the people up on the feet during the encore, it seems both groups got what they came for. I know I did. I like to think that if George were looking down on our celebrations, he’d be happy with the way these Aussie artists honoured his legacy.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Gavin DeGraw @ The Metro Theatre, Sydney – 4 July 2017

No much had really changed when I walked into the Metro on Tuesday night to catch Gavin DeGraw. This was the same venue I’d seen him play 13 years ago. I was with the very same friend. But then so much had changed. I’m married now, and I’m not even sure if I was dating my husband back then. Gavin’s released many more albums; back then he only had Chariot under his belt. I’m also at the point where the prospect of standing crammed up against the stage in the middle of a crowd doesn’t sound appealing. Hell, standing for a couple of hours for a show is no longer my idea of fun. I’m sure many of us there so many years ago agree, so the decision to come back to the Metro was a curious one. Still, there was a certain sense of symmetry about the evening. This time around my friend Jaime and I high-tailed it up the steps. We hoped to find a space in the comfy couches the Metro has up there, but of course when you wander in after a leisurely dinner that’s Mission Impossible. Nevertheless, we found a nice standing spot by the bar with a great view of the stage, so we were as happy as we could be at a standing gig.

Jack R Reilly warmed up the crowds. I wasn’t familiar with his work, but I instantly warmed to his folky guitar tunes. I’m not sure he was the best fit for the show. He’s the kind of performer who writes songs that are really best appreciated when you can mull over every lyric. They’re low key and lovely, but quite different to the accessible piano pop Gavin writes. I enjoyed him, but also found that in such a large venue, so far from the stage, my attention started to wander. I have appreciated getting to know about his music online though.

As someone who lost track of Gavin’s music, I wondered whether I’d get as much as much out of this concert as the last, which was based around his breakthrough album Chariot. He opened with the title track from that release, letting us know that nostalgia would still play a part in tonight’s proceedings. I was pleasantly surprised at the number of songs featured from that first release. While I loved singing along to them, the unfamiliar tracks never dragged for me. In fact, I was reminded what an excellent songwriter and showman he is. Without my own voice singing along, I could focus on how on point Gavin’s vocals are. He spent most of the night at the piano, but got up every now and again to touch the hands of adoring fans near the front and get that much closer to us all. He seemed to really feed off the energy of this Sydney crowd who clearly missed him in his absence.

There were so many highlights of the night. “Something Worth Saving,” a stunning song from the latest album which reminded me that I really need to explore his back catalogue. “Belief,” a fan request that he didn’t play at the Brisbane show the night before, was so emotional. The big hits “Not Over You” and “I Don’t Wanna Be” lifted the crowd’s excitement to another level.

It’s difficult to compare concerts spaced 13 years apart, but as I filed out of the Metro I wondered whether Gavin might have been even better this time around. I only hope it doesn’t take another 13 years to lure him back to Australia. And that next time, he remembers we’re all getting older and chooses a seated venue.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Billy Billy” – Donnarumma

The musicians from Adelaide band Donnarumma are no shrinking violets. The music they create is bold and confident. It forces you to pay attention, with big brassy hooks and driving drumbeats. With their new EP Billy Billy, they show why they should be on your radar.

The single “Love Your Man” kicks things off in all its unapologetic glory. “Into The Moss” keeps the energy levels up. Its jazzy Latin vibe had me grooving in my seat. “The Anxious Dance” is epic in the best possible way, very left of center but delightful because of its difference. Speaking of difference, it’s rare that we hear a song as brutally honest “All Night Long.” I love its rebellious heart. With the title track “Billy Billy,” Donnarumma closes its EP with a bang. “This is the end” frontman Louis Donnarumma sings, and for the EP that’s true. But for Donnarumma, I have a feeling things are only just beginning.

Billy Billy drops on June 30. Donnarumma will tour the EP next month.

1 July 2017 – Grace Emily Hotel, Adelaide
7 July 2017 – Whole Lotta Love, Melbourne
13 July 2017 – Rad Bar, Wollongong
14 July 2017 – The Townie, Sydney (FREE)

Image used with permission from On the Map PR