“The Overland” – Greg Steps and the Not for Prophets

The Overland is the result of years spent writing, recording, and performing for Greg Steps & The Not for Prophets. That might seem like a long time to develop an EP, but these musicians have made sure every song counts.

“Trying to Wake the Dead” is the perfect introduction to the music Greg Steps & The Not for Prophets make together. I was reminded of the music of James Taylor and David Gray as I listened. Those are big shoes, but there’s something so similar and rare in today’s musical landscape about the great storyteller quality in Greg’s voice and the classic blend of an acoustic guitar, piano, mandolin, and fiddle.

I found myself getting sucked into the story of “Railway Man,” that traveller so far from home. The following song, “Famous Last Words” gave me another story to identify with. Listening to it made me wonder why more songwriters don’t tell stories with their songs.

“Half a World Away” is my favourite song on the EP, a stripped back folk song that builds to such an honest, raw crescendo. “Early Hours of Morning” is a beautiful way to end The Overland. I love the harmonies and the delicate calm of this one.

The Overland makes such a strong impression in five songs. It has a timeless quality that’s so appealing. Greg Steps and the Not for Prophets will launch it with a show at the Wesley Anne in Melbourne on February 24. It will be available from that date on iTunes, Bandcamp, and selected music stores.

“The Leaving” – Rough River

After a few stressful days, I was looking for music to soothe my soul. I found it in The Leaving, the sophomore release from Melbourne singer-songwriter Rough River.

Her name suggests a performer much tougher than she appears to be. Her voice is rich and smooth, comforting, and her songs show a vulnerability that’s so endearing. The presser calls Rough River a folk-alternative country performer, a description which goes some way towards explaining the diversity of this release. “Sea Air and City Lights” has an ethereal, mystical quality, thanks to its gentle instrumentation and Rough River’s angelic voice. “Band of String” has an unashamedly old-school country vibe, and those country roots are also explored in a sublime cover of “Tennessee Waltz.” While elements of gospel can be heard in the album’s closing track “Will the Circle Be Unbroken.”

Whatever sound she’s exploring, there’s a sadness and longing that ties the tracks together. Songs like “What You Did,” “Sweet Saccharin,” and “We All Want” pack a real emotional punch, with simple melodies that let the lyrics shine through.

The Leaving is such a special album. It shows a performer coming into her own and being unafraid to show herself. Every song is wonderful in its own right, but together they are breathtaking.

The Leaving hits stores on February 17.

Image used with permission from Dusky Tracks

Red Hot Summer @ Westport Park, Port Macquarie – 4 February 2017

Port Macquarie is nearly four hours from my place. It’s a lovely part of the world, but it takes something special to get me to make the journey. But the combination of an irresistible Red Hot Summer line-up and a catch-up with my friend Lisa (who hails from Brissie, so had a much longer journey than me) was too good to pass up.

Ben Hazelwood helped make the already warm crowd that little bit warmer. They don’t call these shows Red Hot Summer for nothing! I knew his name rang a bell, but was surprised to read that he was on the first season of The Voice. As I saw photos I remembered a performer who was talented but a little bland, a world away from this sexy rock god that graced the stage. He had just the right amount of drama and theatrics to pull me in, and his voice has matured so much in just a few years. I thoroughly enjoyed his set and made a mental note to check out more of his compelling originals.

From new discoveries to old favourites, Taxiride were up next. I knew a whole lot of hardcore Taxiride fans when I was in my late teens, but I can only recall catching them once. Watching them on the stage, I felt a little regret that I didn’t see more of them in the ’90s. They’re every bit as good as they once were, if you were wondering, with some of the tightest harmonies you’ll ever hear and a back catalogue that’s bigger than you might expect. I found myself singing along with every song and clapping heartily for them, enjoying myself thoroughly despite the rain that would plague the rest of the evening.
I’ve never really been a Shannon Noll fan. His music is easy to listen to, but it always felt a little Triple M by the numbers for me. However, seeing him live I have a brand new appreciation for Nollsy. He’s such a showman, the quintessential Aussie larrikin with a great collection of songs that make people smile. Simple. I turned to my husband and said watching Nollsy belt out The Choirboys’ “Run to Paradise” may just be the most Australian thing I’ve ever seen at a gig. And even though he’s probably sung “What About Me?” more times than I’ve had hot dinners, he still put all his heart and soul into it. I was also not so secretly thrilled to see him decked out in double denim, with jeans and a sleeveless vest. I’m not sure he could have chosen a more perfect outfit!

Jon Stevens stood in for an ailing Daryl Braithwaite. I must admit, it took me a little while to warm up to him. In a show like this, you have such a short time with the fans. And let’s face it, as a fill-in act, they’re probably not your fans. So to start slow to a bunch of songs most of us didn’t know seemed an odd choice. All was forgiven once the hits started coming through. As well as the Noiseworks standards there was “Disappear,” an INXS track which reminded me of the very first time I saw Jon, fronting the seminal Aussie rock band. He also paid tribute to Dazza with a stirring cover of “The Horses.” By “Hot Chilli Woman” we were all in ecstasy right along with him.

James Reyne was the act I was most looking forward to, and as always, he didn’t disappoint. I’ve seen him play so many times, but mostly in an acoustic setting. So to hear him electric with a full band was bags of fun. His set was flawless, delivering all of the songs anyone could hope for, from his days with Australian Crawl to his solo successes. What a talent.

John Farnham was the man so many people of Port Macquarie came to see, as is evidence by how quickly the general admission area filled once his set began. It’s a shame that Westport Park doesn’t slope, because any parts that I could see from my comfy camp chair were on the big screens rather than the stage as people gathered in front. John Farnham’s voice is undeniable though. His set brought us hit after hit from his solo career and even his time in Little River Band. “Burn For You” was a poignant highlight, although it would have been nice if the yobbos in front of me could have quit laughing as they hoisted women onto their shoulders and taken a moment to be quiet and listen. It’s all about respect guys, for both the artists and the people around you who want to get lost in the music. My husband and I had to stand for “The Voice” because, well, it seemed unAustralian not to. During it my husband turned to me and said “No Lauren, this is the most Australian thing we’ve ever witnessed as a concert.” As we all sang out the chorus is was hard to disagree. As John came back for an encore I wondered what could be left in his repertoire. Where do you go after “The Voice”? It seems you visit the back catalogue of another legendary Aussie act, AC/DC. “It’s a Long Way to the Top” was the ideal end for this celebration of Aussie talent. I just wondered though, why not make use of the bagpipers you’ve already brought for “The Voice”? It seemed a strange choice.

Before I go, I should make mention of how well run the day was. The staff were exceptional. The personable MC made those moments between acts fly by. While the food and drink vendors didn’t deliver anything too flash, the food was hot and the lines were short. The bar queues didn’t even seem too intimidating, although the decision not to serve wine was a strange one. Special props to the Lions Club who diligently collected our rubbish throughout the day. It’s got to be such a thankless job, but it made the place feel so much nicer.

Port Macquarie is a long way to go for any concert, but the Red Hot Summer tour was definitely worth the trip.

Image source: Stephen Katulka

“Island” – Carus Thompson

With five albums already under his belt, you might assume that Carus Thompson was running out of things to say. However, listening to his new album Island quickly dispels that myth.

Perhaps it’s because Carus hasn’t released an album in five years. Think about your own life and how much you’ve learned in that period of time, and you’ll soon understand why Carus has so many stories to tell. He’s also spent his hiatus working with groups like Headspace, Canteen, and the Australian Children’s Music Foundation. I can hear the way some of the people he encountered during that time has informed his work. Carus has also returned home to Fremantle, to a quieter life with his two children. That sort of move is bound to be good for the soul.

Considering all of those factors, it’s not really surprising that Carus has so much to say with this release. It tackles some deep topics here. He sings so eloquently about the ice epidemic in the single “Bush Fires.” He humanises the plight of refugees on Manus Island in “Reza Barati.” There are themes of isolation and depression that run through.

“Lies” may be the happiest sounding song about betrayal that I’ve ever heard. I love the juxtaposition of this sing-along melody with the cutting lyrics. “Go There With You” is such an honest love song. There are no frills about it; Carus just bears the soul. The delicate “Gone But Not Forgotten” is such a poignant way to end this exceptional album.

Island is so easy to listen to. You could slip it on at your next BBQ and it would add a relaxed atmosphere. But it’s so much richer than just a cruisy acoustic folk album. Tapping into the lyrics you hear so much wisdom and heart. I know I’m going to go back to it at a time when I can just drop everything and really hone in on those words, because I know it’s going to hit me more with every listen.

Island by Carus Thompson is released today. Look out for his live show at the following venues.

12 February 2017 – The Grace Emily, Adelaide (Matinee)
17 February 2017 – Mojos, Fremantle
25 February 2017 – Piping Hot Chicken Shop, Ocean Grove
26 February 2017 – Grampians Festival, Halls Gap
3 March 2017 – Republic Bar, Hobart
4 March 2017 – The Workers Club, Melbourne
5 March 2017 – Newtown Social Club, Sydney
10 March 2017 – The Quarry Ampitheatre, City Beach

“M.o.D” – Josue

When Sydney soul singer Josue released his first EP Bad News in 2015, I thought he was the second coming of Tevin Campbell. I loved his voice and the way he was making music that took me back to my teenage years. However, he’s decided to shake things up with his new 3-tracker, M.o.D.

Josue tells us that M.o.D can mean anything we want it to. “Mind over Distractions. Money overruns Dreams. Music over Drama” he helpfully suggests in the press release. But M.o.D is also the name of Josue’s brother and producer of this EP. His influence has taken everything I loved about Josue’s music but given it a fresh edge.

The single “Stay” is so smooth. Its instrumentation recalls an old jazz club, but the electro beats give it a more contemporary feel. “Million” is so bold, charged with energy. I love the way Josue’s soulful voice pairs with the wailing electric guitars. Josue goes out with a bang with “Erase the Sun.” He actually wrote this song when he was just 17 years old but it feels incredibly mature. It’s political, ambitious, and more than a little trippy.

As I listened to this EP I found myself thinking not of Tevin Campbell but favourite 90s act Maxwell, who took classic soul and created soundscapes around it. However, where Maxwell loved to sing about love and romance, Josue isn’t afraid to tackle grittier subject matter. He takes some real risks on M.o.D. but they all pay off.

Image used with permission from Stimulated Media

“Dragonfly” – Kasey Chambers

Kasey Chambers is something of a quiet achiever in the Australian music industry. She pops onto the radar every now and then with big singles like “The Captain,” “Not Pretty Enough,” and “Barricades and Brickwalls,” but there’s not a lot of fanfare when she releases albums. However, when they’re full of quality songs like her 11th studio album Dragonfly, there really ought to be.

You might assume that at number 11 Kasey might be running out of steam. Yet Dragonfly shows she’s still a singer-songwriter with plenty to say. There are 19 different tracks on the album in all (“Ain’t No Little Girl” is given two separate treatments). I’ve felt shorter albums than this drag, but the songs are all of such quality I can’t imagine what she could have left out. The album was recorded in two separate sessions – the Sing Sing Sessions were conducted under the guidance of Paul Kelly while the Foggy Mountain Sessions sees Kasey’s brother Nash at the helm. Despite the two different locations and producers, the album comes together beautifully as a cohesive whole.

“Pompeii” is the perfect introduction to this album, a banjo-driven number with a traditional country sound and sublime harmonies from Kasey and her backing band. It sets the scene for an album that has a classic sound deeply rooted in the country music upon which Kasey was raised. I love the gospel-tinged fun of “Golden Rails” and the old Southern blues feel of “Shackle & Chain.”

However, I feel Kasey is at her best when she’s baring her soul. “Ain’t No Little Girl” is powerful stuff which hit this female writer hard. The title track is another master stroke, with intimate lyrics which are so moving.

She’s just as compelling whether she’s telling the story of someone else, like in the exquisite “Behind the Eyes of Henri Young” or the haunting “Annabelle,” or her own story with great humour and a country twang in “Talkin’ Baby Blues.”

Dragonfly features collaborations with a first-class collection of musicians. While she shines in solo mode, duets like “Romeo & Juliet” with Fance Voy and “If We Had a Child” with Keith Urban are some of the album’s highlights. Other tracks like “Jonestown” and “Satellite” aren’t listed as duets, but the strong presence of other voices that complement Kasey’s so beautifully make them feel as if they are.

Dragonfly is released today. Kasey will celebrate its release with a string of shows around the country.

26 January 2017 – West Tamworth Leagues Club, West Tamworth (with Bernard Fanning)
9 February 2017 – Botanic Park, Adelaide (with James Taylor and Bernard Fanning)
10 February 2017 – Taronga Zoo, Mosman (with Thelma Plum)
11 February 2017 – Sirromet Wines, Mt Cotton (with James Taylor and Bernard Fanning)
12 February 2017 – Hope Estate Winery, Pokolbin (with James Taylor and Bernard Fanning)
14 February 2017 – Orange Ex Services Club, Orange (with Bernard Fanning)
15 February 2017 – Albury Entertainment Centre, Albury (with Bernard Fanning)
17 February 2017 – Eastbank Centre, Shepparton (with Bernard Fanning)
18 February 2017 – Ulumbarra Theatre, Bendigo (with Bernard Fanning)
19 February 2017 – Lakeside Wendouree, Ballarat (with Bernard Fanning)
21 February 2017 – Canberra Theatre Centre, Canberra (with Bernard Fanning)
22 February 2017 – Anita’s Theatre, Thirroul (with Bernard Fanning)
24 February 2017 – Empire Theatre, Toowoomba (with Bernard Fanning)
25 February 2017 – Saraton Theatre, Grafton (with Bernard Fanning)

“Being” EP – Millington

“Being” was one of the songs that really stuck with me last year, as much for its playful good vibes as its unexpectedly grotesque music video. So when this Melbourne-based Millington’s EP hit my inbox, I couldn’t want to give it a listen.

Listening to “Believe” again reminded me just how much I love the song. Without the film clip distracting me, I noticed little nuances about it that I hadn’t before. It’s such a solid little folk-pop song. “Tweet” shows a jazzier side of Millington’s music. I half expected him to start scatting in this very cool track. The raw emotional opening of “Spark in the Dust” really drew me in. I’d heard hints of Millington’s rasp before, but that lovely rough part of his voice is used to great effect in this song, where it’s complemented by the resonant hum of a didgeridoo. “Love Handles” is pure pop fun. “Sleep Tight” is the most stripped back song on the album, a mellow reggae-tinged number that is ideal for lazy Saturdays. Fittingly considering it’s the title track, Being gets another outing with the Kitchen Sink Remix closing the EP. Personally I’m not sure I needed this quirky take, but it does bring another complexion to the EP’s big single.

The Being EP is released on January 21. See Millington playing songs from his EP at the following Victorian gigs.

15 January 2017 – Mordy Supper Club, Mordialloc
21 January 2017 – Bella Union, Carlton (EP Launch)
29 January 2017 – Godskitchen, Mornington
3 February 2017 – The Cally, Wonthaggi

Image used with permission from This Much Talent

Ross Wilson @ Ettalong Diggers, Ettalong Beach – 27 December 2016

After an unexpected death in the family a couple of weeks ago, my family has been having a fairly tough time. We needed some fun, but even Christmas couldn’t seem to pull us out of our funk. Last night at Ettalong Diggers, Ross Wilson managed to do what the silly season couldn’t and put a smile on the faces of my parents, my husband, and myself.
Ross Wilson gives a masterclass in the art of performing. He doesn’t rely on bells and whistles, just great music and a superb backing band. At times I found myself marvelling at the prowess of his keyboardist and guitarist. However, while they’re good they never overshadowed the main man, a man who has created countless hits in his solo career and time with Daddy Cool and Mondo Rock. All of the biggies were performed in Ross Wilson’s own inimitable style over two sets.

Ross Wilson is the kind of performer that just makes you feel good. His loud shirt was every bit as bold as his presence on stage. And that voice, it’s lost nothing over the years. He had us captivated in powerful numbers like “Touch of Paradise” and on our feet with “Come Back Again,” “Hi Honey Ho,” “Cool World,” and of course, “Eagle Rock.” I’m not sure there’s anything more Australian than being at a club dancing around to the Daddy Cool smash.

I always think music finds you at the time you need it. At a terrible time for my family, a night out with the musical gifts and generous stage presence of Ross Wilson was just what the doctor ordered.

Image source: own photo

“Silhouettes of Song” – Murry Rhodes

Just in time for Christmas, the Territory’s own Murry Rhodes has released his debut album Silhouettes of Song.

Murry is a relative newcomer to the music industry, having worked most his life as an electrician in the Outback. He honed his craft traveling across the country for the last two years, playing everywhere from cocktail bars to caravan parks. This album draws on that experience. When you’re there to entertain a crowd that doesn’t know who you are, you typically play covers, and they make up the bulk of this release.

I was drawn in from the first song, a flawless cover of Bob Dylan’s “Blowin’ In the Wind.” Some covers reminded me of all that I loved about the original, like his take on “Hallelujah.” So many people have covered this song over the years, but his version was every bit as good as the best I’ve heard. I haven’t listened to “Seven Spanish Angels” in years; this version brought tears to my eyes. Other tracks made me see the songs in a new way. For example, I don’t think I’d heard the pain and struggle in “Drift Away” before. There were a couple of missteps for me though. “Makin’ Whoopee” and “Hey Good Lookin’” probably went down a treat in the country’s piano bars. They seem effortless, perhaps too effortless. There’s nothing to fault per se, but they don’t quite stir me in the same way as some of the more unconventional choices.

Murry has included two original songs here, and they really showcase his gift as a songwriter. These two numbers are as powerful as any of the more established songs included on this release. “Lifetime,” which reflects on the impact of depression as the years pass, is particularly moving.

Murry Rhodes has a voice that is so rich and beautiful. It’s not a perfect voice, but one that drips with emotion. It adds extra weight to this already stellar collection of songs. I love that this is a minimalist album; with just a man and his piano the songs have the right amount of room to breathe. The instrument isn’t just used as accompaniment either. There are moments where his skills on the keys shine, as they should. Murry Rhodes is a complete artist, not just a singer that plays a little piano. He might be late to the music game, but I’m thrilled he’s downed electrical tools and decided to share his gift with us.

Silhouettes of Song is out now. Murry Rhodes will play Darwin at the Hub in Palmerston on December 23 and 30.

“Friends for Christmas” – John Farnham & Olivia Newton-John

It’s officially the silly season, a time when we can unashamedly enjoy a little schmaltz and sweetness. We get both in abundance in Friends for Christmas, a new holiday release from good pals and Aussie legends John Farnham and Olivia Newton-John.

This is the ideal album to slip on while you’re trimming your tree or entertaining the family on Christmas Day. It’s merry, joyful, and full of cheer. Old favourites like “It’s Beginning to Look a Lot Like Christmas” and “Santa Claus is Coming to Town” are delivered with childlike enthusiasm. But for me the real standouts are the songs that allow these two incredible voices to soar. You can’t help but be captivated by more traditional choices like “The Little Drummer Boy” and the closing number, “Hark the Herald Angels Sing.” “Have Yourself a Merry Little Christmas” hits all the right notes; it’s tender and so exquisitely executed.

There’s no disputing the talent of these artists. Separately they’re amazing, but listening to them harmonise and feed off one another’s energy takes things to another level. When they get together, magic happens. And isn’t that what Christmas is all about?

Friends for Christmas is in stores now.