Category: Reviews

Posted on by Lauren Katulka

“Better Hold On” – Tullara

Tullara shows she’s an artist that’s impossible to pigeonhole with her debut EP Better Hold On.

I thought I had her pegged with the opening track “Too Many.” It’s a jaunty folk song, complete with a fiddle, an acoustic guitar, and a banjo. I imagined she was something like the second-coming of Jewel, but with a richer, huskier voice that reminded me a little of Dido.

But when I heard “Jailbreak” I knew I was wrong. It’s a wild, bluesy ride, with a funky bass line and killer vocals from Tullara. It’s as far from folk as you can get, the kind of rock star turn you’d expect a tough chick to deliver in a dark, sweaty pub with sticky floors.

That frenetic performance took my breath away, yet I wondered whether it was all a dream as I listened to the delicate “No Time.” It’s a calm folk song, delivered with the resignation of someone self-aware enough to understand a relationship is just not working.

“Five Weeks” sees Tullara shifting gears again. It’s entirely instrumental, with a real international flavour. It transported me to the bazaars of India in minutes.

The final track “Six Months” might be my favourite. It’s also perhaps the most intimate and stripped back we hear Tullara. The lyrics are vulnerable and given space to breathe with just an acoustic guitar to keep time. It’s a heartbreaking exploration of lost love that most of us will find so painfully familiar.

Tullara shows that she’s an artist with so much in her back pocket. She goes where the music takes her, and hopes her listeners will come along for the ride. I’m only too happy to follow.

Better Hold On is currently available from digital outlets. Tullara is touring the country to support its release. Here are her remaining dates.

8 December 2016 – The Milk Factory, Brisbane
9 December 2016 – Leche Café, Yamba
10 December 2016 – 63 First Ave, Sawtell
11 December 2016 – Stag & Hunter, Newcastle
26 December 2016 – 1 January 2017 – Woodford Folk Festival, Woodford

Image used with permission from the A&R Department

Posted on by Lauren Katulka

Aladdin @ Capitol Theatre, Sydney – 1 December 2016

I didn’t really want to see Aladdin. I imagined I’d feel a little like I did when I saw Mary Poppins, disconnected from the experience and wishing I could see it through a child’s eyes. Longing for magic. However, I’m thrilled my husband wanted to see it to celebrate his birthday, because it turned out to be one of the best nights I’ve enjoyed at the theatre.

In the movie, we were left waiting until Aladdin rubbed the lamp to meet the scene-stealing Genie. In the musical version he’s our faithful guide, explaining what was to come and taking us to the magical land of Agrabah. It was a visual feast from the get go, with dancing ladies and muscly men with swords twirling about.

In the midst of it all was an Aladdin, who was soon on the run from the law. I remember marvelling at this scene as a kid, and was impressed with the way it came to life on the stage. Animation allows you to do so much that I worried we’d lose some of the sparkle in the real world, but the clever choreography sucked me right in.

Some things were changed to make the transition to the stage. Iago lost his feathers and became a short-statured man with the voice of Gilbert Gottfried. Abu the monkey was nowhere to be seen, with Aladdin instead relying on the support of his good-hearted “street rat” pals. Robin Williams was larger than life as the Genie in the film version, but Michael James Scott made the role his own. He was an absolute scream, with a killer voice to boot.

I was sceptical about whether Aladdin could whisk me up in its magic, but by the time our hero and Princess Jasmine boarded their magic carpet I was in raptures. While the movie impressed me, those flat images on a screen couldn’t hold a candle to the sight of our young couple taking flight with only the stars and moon to illuminate their path.

By the time the cast took their final bows I couldn’t believe I’d been in the theatre for a couple of hours. It flew by. What a fast-paced, funny, and truly magical experience. Aladdin isn’t just for kids. It’s for the kid that still exists inside us all.

Posted on by Lauren Katulka

“Two Degrees” – Illy

I consider myself open to most musical genres, but I haven’t really listened to a lot of rap since the 90s. I had fun with acts like Salt-N-Pepa and The Fugees, but then the genre evolved, as most do, and I felt left behind. It seemed rap was either about the struggle of people from the “wrong side of the tracks” or about the excess of those living it large. Neither type of rap resonated with me, so I found myself listening to the genre less and less. And then came Illy.

It’s hard to believe, considering how Illy seems to have burst onto the scene a relatively short time ago, but his newie Two Degrees is actually his fifth studio album. It’s a highly anticipated release considering the way Australia’s responded to singles like “Papercuts” and “Catch 22.” It’s the strength of those singles that have taken it to number one on debut. But it’s the strength of the other songs that’s going to get people talking and keep it on the charts for many weeks to come.

My favourite songs are the ones where Illy collaborates with other artists. I think he does some of his best work when he has someone to bounce off. The chemistry he has with the artists he’s handpicked here elevates these tracks. “Hazard to Myself,” a collaboration with Sir the Baptist, is so playful and irreverent. “Oh My,” with Jenna McDougall, feels like a summer anthem. “Extra Extra,” featuring Mike Waters, is pure feelgood joy.

While these songs make me smile, some of the album’s most poignant moments come when Illy’s working alone. “Truce” feels very personal, with powerful lyrics that pack a serious emotional punch. The closing track “Highway” is such a perfect way to finish the album. This song closes this chapter in the Illy story by looking forward to the future.

Illy is a rapper, but his music is so much more than that. He effortlessly fuses his rhymes with pop, dance, and electronic sounds to broaden its appeal and make it accessible to people like myself who don’t spend a lot of time listening to rap. If like me you’ve moved away from rap music, Two Degrees encourages you to dip your toe back in to the genre. You won’t be disappointed.

Image used with permission from Warner Music Australia

Posted on by Lauren Katulka

“The Housefox Sessions” – Pepperhead

Some of the best rock outfits have been featured groups of guys with a woman out front. Perhaps it’s that these women are forging a path in a male dominated genre, but they seem to have an extra bit of grit and fire about them. Pepperhead frontwoman Louisa Thomas picks up where the likes of Suze de Marchi and Sarah McLeod left off.

She owns every track on The Housefox Sessions EP, a collection of songs recorded at Housefox Studios on Sydney’s Northern Beaches. When I think of the Northern Beaches, I think of privilege and a little pretension, but there’s none of that artifice about this recording.

Opening track “Angels & Demons” is a straight-up rock gem, all heart and soul. It’s followed up by the single “See Through You,” a track which adds a little more punk and rebellion to Pepperhead’s rock sound. If you’re not punching the air by the end, I’m a poor judge. “Superhero” sees Pepperhead shifting gears slightly, with gentle verses contrasting with its explosive chorus. The closer, “Unresolved,” is a frenetic piece of power-punk clocking in at just a little more than two minutes. It’s the kind of song that takes your breath away, before making you feel like you want to experience it all again.

The Housefox Sessions might have been recorded in a professional studio, but it feels more like something cut in a garage or live at a gig in a sweaty pub. There’s an irresistible energy about the way Pepperhead plays, with Louisa a commanding presence well supported by this tight unit of players. In just four tracks, Pepperhead shows enough to suggest it could be the next big thing.

Image used with permission from The A & R Department

Posted on by Lauren Katulka

“Silver Birch” – Little Wise

After falling for Little Wise’s single “Don’t Hurry Back,” I couldn’t wait to wrap my ears around her album Silver Birch. My expectations were high, but this beautiful collection of folky acoustic songs certainly met them.

The album opens with “Sometimes,” a summery folk-pop number about leaving the negative forces behind and moving forward. The lyrics of “Grab a Hold,” which contain so much wisdom, really resonated with me. The title track “Silver Birch” is an absolute standout. The lyrics which reveal the loss of a father touch on the sadness but also celebrate the strength and wisdom gained from tragedy. “Favourite Song,” featuring guest vocals from Sal Kimber, has such a great groove that reminded me a little of something Rickie Lee Jones might write. The final track “Stairs” is the perfect way to end. This isn’t one of those albums that has big production, but it’s still refreshing to hear what is there stripped away until we’re just left with the gentle strumming of an acoustic guitar and Little Wise’s angelic vocals singing an honest, moving lyric. This is music at its most pure, and it’s a beautiful thing to witness.

Little Wise has a gorgeous voice with such an earthy, authentic quality. I believe her as she tells stories of the people she’s known. Each track is a beautiful snapshot of moments that are personal, yet touch on themes we can all relate to. While this gentle album would make the perfect music for those quiet nights chatting with friends over glasses of red wine, the listening experience becomes so much richer when you tap into the lyrics and really listen to what each song has to say.

Silver Birch is out now. You’ll find it on iTunes, Spotify, and Bandcamp, which has both digital and physical versions. Little Wise is currently touring the country to support its release.

15 November 2016 – House Concert, Nambucca Heads
17 November 2016 – Petersham Bowling Club, Sydney (with Rosie Burgess)
18 November 2016 – Smith’s Alternative, Canberra (with Rosie Burgess)
19 November 2016 – Commonground Festival, Seymour
24 November 2016 – The Bella Union, Melbourne (with Rosie Burgess)
25 November 2016 – Martians Café, Deans Marsh (with Rosie Burgess)
27 November 2016 – The Wheatsheaf, Adelaide (4pm – with Rosie Burgess)
9 December 2016 – Basement Discs, Melbourne (FREE @ 12:45pm)
10 December 2016 – Brookfield Shed, Margate (with Rosie Burgess)
11 December 2016 – Marakoopa Café, Mayberry (2pm with Rosie Burgess)

Posted on by Lauren Katulka

“Foreign Bodies” – The Iron Eye

With all the confidence and prowess of global names like Queens of the Stone Age and A Perfect Circle comes Brisbane rock act The Iron Eye and its brand new EP Foreign Bodies.

The EP bursts out of the gate from the first track and lead single “Culpa.” I love its driving drums and singalong chorus. “Just Started” continues the fun with its dirty, sexy groove and fuzzy guitars. The title track “Foreign Bodies” is another high-octane rock hit, with big chunky guitars and big vocals from Nick Lythall to match. “Where Do You Go” had me bobbing my head in time with its energetic beat. The closing track “Silence” is perhaps the EP’s most ambitious number. It’s menacing and dark, without the obvious hooks of the songs that came before. This song shows that The Iron Eye is a band that’s not afraid to take some risks. While it wasn’t my favourite song on Foreign Bodies, I appreciate the statement it makes.

The Iron Eye makes music that rocks hard with a great melodic core which endears it to listeners from the first spin. Foreign Bodies gives an exciting snapshot of a rock act that deserves to make a splash on the local music scene.

Foreign Bodies drops on November 18.

Image used with permission from Collision Course

Posted on by Lauren Katulka

“The Blues Arcadia” EP – The Blues Arcadia

Ordinarily I find myself dragging my feet on a Monday, lamenting how quickly the last two days have whizzed by and the deadlines I have looming. However, this week I’ve got a spring in my step thanks to Blues Arcadia’s new self-titled debut EP.

I instantly connected with the music from this soul act from Brisbane. While it’s a debut, these guys, including past members of The Bella Reunion, are no strangers to the music scene. Listening to the seven tracks that make up this EP, you feel you’re in good hands. The numbers were recorded live to tape at The Barn Studios, giving them an energy and emotional intensity other studio recordings often lack.

I love the melancholy of “Corner Girls.” I can imagine hearing it in a smoky jazz club late at night after one too many glasses of scotch. After the raw ache of that song, the easy, playful groove of “Take the Money” gives the heart some respite. “Miss Lonely” is pure joy, the kind of track that gets everyone in a club up on their feet and dancing. “Here Comes the Rain” sees Blues Arcadia in performers its most sombre mode. It’s heartbreaking, with crying guitars adding pathos to Alan Boyle’s stunning vocals. The upbeat “Operator Please” brings the mood up before “Time and Again” reminds listeners just how good this band is at crafting a song about loss. It’s a powerhouse, with a rollicking piano, driving drums, and those meaty vocals. The upbeat “Rockin’ Chair” closes the EP with a bang. It’s got a great political message, but with its beefy sax line and danceable beat that message goes down easy.

I don’t ordinarily write about every song on a recording, but there are no filler tracks here. Blues Arcadia has such a great sound, with all the players pulling their weight. Big brass sounds meld beautifully with more delicate instruments like the guitars and piano. Everything works. And with Alan Boyle’s soulfully raw vocals on top, it’s heaven. I’m so glad this is a longer-than-average EP, because I didn’t want it to end. Excuse me while I hit play again.

Blues Arcadia’s self-titled EP drops on November 14. They’re playing the following shows around Queensland in the coming months. Hopefully they won’t leave the rest of Australia waiting too long, because I need to hear these guys live!

12 November 2016 – Lefty’s Old Time Music Hall, Brisbane (FREE)
13 November 2016 – Secret Show – email thebluesarcadia@gmail.com for details
18 November 2016 – The Walrus Club, Toowong (FREE)
19 November 2016 – BASEQ 21st Birthday Bash @ Lefty’s Old Time Music Hall, Brisbane (FREE for BASEQ members)
26 November 2016 – Sonny’s House of Blues, Brisbane (FREE)
2 December 2016 – Sonny’s House of Blues, Brisbane (FREE)
3 December 2016 – The Walrus Club, Toowong (FREE)
10 December 2016 – Lefty’s Old Time Music Hall, Brisbane (FREE)
31 December 2016 – The Royal Mail Hotel, Goodna
14 January 2017 – Lefty’s Old Time Music Hall, Brisbane (FREE)
21 January 2017 – Wolvi Heads Shed, Wolvi
27 January 2017 – Queen Street Mall, Brisbane (FREE)
28 January 2017 – Sonny’s House Of Blues, Brisbane (FREE)
17 February 2017 – Lefty’s Old Time Music Hall, Brisbane (FREE)
25 February 2017 – Sonny’s House Of Blues, Brisbane (FREE)
10 March 2017 – Sonny’s House Of Blues, Brisbane (FREE)
11 March 2017 – Palmwoods Hotel, Palmwoods

Image source: Blues Arcadia Facebook page

Posted on by Lauren Katulka

Jazz in the Vines @ Tyrrell’s Vineyard, Pokolbin – 29 October 2016

The punters were promised the biggest and best Jazz in the Vines yet, a fitting party to farewell the Hunter Valley’s beloved festival. However, some major organizational flaws put a dampener on the festivities and left many of us with a sour taste in our mouth.

Long queues snaking in to the land beside Tyrrell’s Vineyard were our first clue that this year might be a little different from the very relaxed festival I’ve loved for so many years. Ordinarily the lines move quickly, yet I missed most of Anna Weatherup’s set because I was queuing to enter the venue. She sounded amazing, with laidback covers of songs from Dido and Eva Cassidy, and I really wish the lines had moved faster so I could watch her play.

Sadly that was a recurrent theme for this year’s event which has been dubbed “Jazz in the Lines” by some of those disappointed. After entering the venue and setting up our chairs, Dad and I made a beeline for the bar. I’m glad that we did, because even though people were still streaming through the gates, it took us an hour to get to the front. As it turned out, those two bottles of wine we purchased for our group of four would be the only ones we’d buy all day. While in the queue we heard tickets were still being sold at the gate, further compounding the problem. At one point we saw the queue stretch out to four times the size it was when we lined up.

The event’s organiser’s commented on Facebook that “many of our patrons were let down by the one aspect out of our control,” before passing the buck to Tyrrell’s. The winemaker apologised for the queues, noting they were “understaffed” and the demand for wines “was far greater than anticipated.” However, when an event has been promoted as extensively as this one and tickets are sold in what must be record numbers, I fail to understand how the demand could be “greater than anticipated.” Staff should have been found, whether they were from the winery or contracted for the day. It all made me long for the years before Tyrrell’s had the monopoly, when it would share the spotlight with the likes of Tamburlaine and Peterson’s Champagne House, and queues were negligible.

While the situation was unfortunate, it wasn’t the only problem on the day as the organisers suggested. The queues in to the venue were too long, and this was repeated as we waited for the car park to clear at the end. At one point a frustrated volunteer threw down his sign, leaving confused cars to try to work things out until a police officer ran in to address the mess. The bins were overflowing by mid-afternoon, forcing many attendees to leave glass bottles strewn around the grass and creating an unsafe environment. With so many people at the event, this should have never been left unchecked.

A representative from Jazz in the Vines contacted me on Monday when I shared my frustrations on Facebook along with others. Remembering my name and blog, he urged me to call him so he could give his side of the story before I wrote this review. With a busy week of vet appointments, Melbourne Cup luncheons, and entertaining my visiting parents, I knew I’d barely have a moment to myself. I urged him to write an email if he had anything further to add to the comments regarding Tyrrell’s on Facebook. I didn’t receive one. I questioned him about the bins over Facebook Messenger, but I didn’t get an answer on that either.

I’m not suggesting one needs to drink to have a good time, but I do think when you pay money for an event like Jazz in the Vines, you’re paying for an experience. You should be able to enjoy all that’s on offer, rather than being forced to decide whether to queue to get alcohol and miss hours of entertainment or go without.
For our party the decision was a no brainer. We drank the little bit of wine we could procure slowly, and purchased some softies from the guys from the Men’s Shed before they sold out. It was much more important for us to watch the music, which as always impressed. The first act I got to see was Monica Trapaga, performing with John Morrison’s Swing City. I’ve always loved Monica since growing up with her on Playschool and I’m not sure she’s aged a day. What a vivacious entertainer, a proper old-school jazz artist with a clear, pure tone and a little va-va-voom in her delivery. She was over far too soon.

The next act Ondawon was so intriguing. Lead singer Neilsen Gough has one of the best soul voices I’ve ever heard. His classic sound reminded me a little of Luther Vandross mixed with Bill Withers. He could easily have stuck to soul standards, but instead the set featured covers of songs like Elvis Costello’s “Alison” and Soft Cell’s “Tainted Love” performed in really unique ways. I enjoyed it, although it was probably a shade too long at an hour.

I could feel the crowds getting restless until John Morrison’s Swing City returned, this time with John’s Brother James, Dale Barlow, and Emma Pask in tow. James Morrison really is Mr Jazz in the Vines. He has such charisma and is always a blast to see. I’d watched him play the festival with Emma years ago, long before The Voice, and I was thrilled for her return. Her voice truly is something else. The playful chemistry between them, showcased perfectly in songs like “Quizás, Quizás, Quizás,” made this set an absolute joy.

Lisa Hunt was up next, another Jazz favourite who always gets the crowd up and dancing with her Motown covers. Up near the stage really was the best place to experience her set, not just because you could feel the electricity from her, but also because the sound suffered back near our seats. I’m not really sure what happened – this was the only act where sound quality suffered – but judging by a couple of Facebook comments I wasn’t the only one who noticed.

Thankfully there were no such issues for Leo Sayer, my favourite act of the day. I’m not sure I realised just how many Leo Sayer songs I knew or what a dynamic performer he is. I was held transfixed and loved every single second of his set which delivered hit after hit including excellent renditions of “When I Need You,” “One Man Band,” and “You Make Me Feel Like Dancing.” What a treasure he is. I really must see him playing his own show, because he is exceptional.

After being in raptures over Leo’s set, I felt a little let down over the closing act, Mental as Anything. It seems I wasn’t alone, as I saw many people exiting the venue when they took the stage. Playing some relatively obscure songs up front probably didn’t help matters. Musically the band is still strong, but the vocals from Greedy Smith and Martin Plaza aren’t quite what they used to be. I had a little boogie to “Live It Up” and “Nips Are Getting Bigger,” but I felt a little underwhelmed.

On the whole though, Jazz in the Vines delivered many of the outstanding musical performances I’ve come to expect. It’s just a shame that the well-publicised problems took the gloss off what should have been a very special curtain call for one of the Hunter’s most loved festivals.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Eyes Still Fixed” – Amarillo

This is the first day this week I haven’t had somewhere to be, some thing that takes me away from my desk and my writing. It’s the perfect day to be at home, a little chilly with rain hitting the tin of the patio roof just outside my window. On days like this you want music that feels easy and comfortable, mellow and acoustic-driven. I found that in Amarillo’s new album Eyes Still Fixed.

I’ve actually had this album sitting at the top of my inbox for a while. I call it new, but the Melbourne alt-country duo released it almost a month old now. While I would have liked to get to this review in a more timely fashion, I also think I found this album at the right time for me personally. This is what I needed to explore right now.

Eyes Still Fixed was written mostly on the road, in the remote hotel rooms of the Northern Territory and Western Australia. That laidback feel of escaping the hustle and bustle of the city comes through these tracks beautifully. The steel guitars are languorous and the vocals have a distinct Australian twang to them.

The opening track “All I Can See” is breathtaking for its sparseness. I love a song that gives the music and lyrics space to breathe. The nostalgic wistfulness of “Lemonade” is so charming. The simplicity of the title track is haunting. The summery “Look At You Baby” put an instant smile on my face.

Eyes Still Fixed is a beautiful collection of songs without the frills. With their honesty and organic charm, Amarillo has created an album that’s simply a joy to listen to.

Image used with permission from Annie Johnsson Publicity

Posted on by Lauren Katulka

Glen Hansard @ Sydney Opera House, Sydney – 23 October 2016

I had to rely on this blog to tell me how many times I’ve seen Glen Hansard perform. It seems Sunday’s show at the Sydney Opera House was my fourth time seeing the Irish troubadour, yet the gloss never seems to wear off.

Funnily enough, when my husband and I tell people we’re seeing Glen Hansard we’re always met with blank faces. We mention the movie and stage musical Once, the song “Falling Slowly” it spawned, yet still there’s no recognition. I’m not sure why he hasn’t broken through to the mainstream yet, but I’m glad there are enough of us dedicated fans to see Glen sell out iconic venues like the Opera House twice over.

One of the things that keeps me coming back to see Glen is that every show is different. This time he was out promoting his newish album Didn’t He Ramble, so there were new songs to enjoy. He was also out here with one of the biggest bands I can remember, made up of members of The Frames, the act that saw him come to prominence, as well a string section and pianist.

Mercifully for a show starting at 9 on a school night there was no support act. Glen and his players walked out without fanfare, setting the scene for a show that was more about true talent than bells and whistles. And there we were, transfixed, for the best part of three hours. This generous set never felt laboured because Glen has so much quality music to draw from. The long set gave us time to hear the stories behind songs and enjoy extended jams which showcased the quality of all musicians on the stage. Everyone was so talented, but Glen is the one who demands attention. I don’t think I’ve ever seen a performer that’s so committed to his songs, so connected to his music. It’s a raw, beautiful to see him strumming furiously at an instrument, crying out his lyrics.

Most of the songs drew from Didn’t He Ramble, but he still delved back into the old Frames and Swell Season catalogue for those of us who’ve supported his music all these years. “Star Star” morphed into “Pure Imagination,” a fitting tribute to the late Gene Wilder. A cover of “Astral Weeks,” a nod to his fellow countryman Van Morrison was another highlight for this woman who was raised on Van’s music.

There were also special guests. Glen brought up Peter, a busker he’d met on the streets of Sydney who played a stunning song he’d penned for his mother. Watching this young guy so overwhelmed to be on the Opera House stage, to be playing Glen’s guitar, to be so supported by a musical hero, was so moving. Peader O’Riada, a legendary Irish classical pianist also joined Glen for “Leave a Light” before treating us to a few of his own compositions. I don’t listen to a lot of classical music but I couldn’t help but be impressed by his talent.

As we were shuffling out of the theatre I heard the gentleman behind me turn to his friends and say “I have the feeling we just witnessed something really special.” I can’t help but agree.

Image source: own photo