Category: Reviews

Posted on by Lauren Katulka

“Meteorite” – Owls of the Swamp

I prefer my Fridays leisurely, gentle introductions to weekends where I’m free to do exactly what I want. However, this one is nothing like that. I’ve got so much work on my plate that I know I’ll be chained to my desk for most of the weekend. When I’m under the pump like this, I look to music like Owls From the Swamp’s new EP Meteorite.

This recording is like a little oasis in a busy day. There’s a dreamlike quality to the music, which brings a modern electric edge to the folk genre.

“Starting All Over,” the single I was already familiar with, lulled me into the recording, instantly putting me at ease. The following track “Stepping Stones” took me back to my childhood, with its reference to throwing stones in the water and watching them ripple and warm, nurturing atmosphere. The title track “Meteorite” may be the dreamiest number of all. I almost get a sense of floating as I listen to it. It’s fitting then that the next song is “How Long Have I Been Sleeping?” It doesn’t quite rouse the listener from their dreamlike state, but rather ease them back into the land of the living. I love the acoustic guitar picking that anchors this song, which may be my favourite on the EP. “I Found You” is such a romantic way to end this beautiful EP. It’s such an honest declaration of love, heart-warming and so endearing.

I love the lush instrumentation of this release. It all sounds so pretty. There’s a lot of layering in the sounds, yet Owls of the Swamp never pushes things too far. This is another stellar release from the Aussie expat.

Meteorite is released on November 4.

Image used with permission from Pete Uhlenbruch

Posted on by Lauren Katulka

“Dream Lover” @ Lyric Theatre – 16 October 2016

When my family first heard a stage musical based on the life of Bobby Darin was in the works, there was only one man we could imagine successfully taking on the role. That man was David Campbell. We knew he’d be impressive, but I don’t think we were quite prepared for just how good he would be.

Dream Lover really is David Campbell’s show. His Bobby Darin is a presence in virtually every scene, and he shines throughout. We’re first introduced in Bobby on the night of what would be his final performance. I’ve seen David perform the opening number “Mack the Knife” several times over the years, but with back-up dancers and a tight orchestra (who are celebrated on stage rather than buried in the pit as in so many musicals) the song reaches another level.

From there we’re taken on a journey through Bobby’s life. We see him as a child with stars in his eyes, as a hard-working rock-and-roll singer, and as the toast of Hollywood with Sandra Dee on his arm. We’ve seen this kind of rags-to-riches tale before, but most musicals tend to shy away from the darkness Dream Lover isn’t afraid to explore. Bobby Darin’s stellar catalogue of beloved music ensures the show doesn’t get too gloomy.

Stepping into Bobby Darin’s shoes is no small feat. This is the Bobby Darin story after all. This character isn’t always likeable, yet there must be a charm about him that helps us forgive his unrelenting ambition. He sings, he dances, and he gives the production its anchor. David makes all this look easy, as the very best stage performers do. I’ve long admired his vocal chops, but I didn’t realise how impressive his acting skills are.

Special mention must go to Caroline O’Connor, a stage veteran who took on the dual roles of Polly and Mary Douvan with aplomb. Hannah Fredericksen brought the right amount of sweetness and strength to her portrayal of Sandra Dee and Bert Labonte was also excellent in the role of Charlie, a paternal figure to Bobby.

Sydney is lucky enough to have the world premiere of Dream Lover, although I’m sure it will tour around Australia in time. And after that, who knows? This musical is certainly solid enough to leave the country and grace the stages of Broadway or the West End. However, unless David Campbell commits to taking the role abroad, I can’t imagine it’ll be as good as the original Australian production!

Dream Lover is playing at the Lyric Theatre until at least November 27.

Posted on by Lauren Katulka

“Small Town Romance” – Small Town Romance

Melbourne country duo Small Town Romance is ready to unleash its debut self-titled album, a collection of songs Jim Arneman and Flora Smith call a love letter to country music.

I really love that description, because this album is one that celebrates the traditions of country music like few do today. Its songs have a great Western feel, with slide guitars and harmonicas used to awesome effect.

Jim and Flora have been making music together since 2013, and that experience shows. They’re equally capable taking on a beautiful ballad like “Halfway Up the Hume” as they are a honky-tonky number like “Old Letter.” “New Things,” which gives a playful but earnest take on encouraging a love interest to move on, is another highlight for me.

Individually both Jim and Flora’s voices shine, but when they harmonise, wow. The combination of their tones is really special, ensuring a song like “Rookie” is another album stand-out. It reminds me of what we used to hear in country music, from the likes of Johnny Cash and June Carter, or Conway Twitty and Loretta Lynn.

When so much country music is being watered down, fused with rock or pop to help it cross over to a more mainstream audience, it’s refreshing to hear Small Town Romance’s music which faithfully pays tribute to the roots of the genre. Their debut album is a stellar collection of songs which shows this duo has a big future ahead.

Small Town Romance’s self-titled debut album hits stores on October 14. The duo will launch it with a gig for hometown fans at Bella Union in Carlton on October 21.

Image used with permission from Shows in Space

Posted on by Lauren Katulka

“Seven Years” – Matt Joe Gow

It’s been seven years since Melbourne-based singer-songwriter Matt Joe Gow released his first solo album The Messenger. He joined a band and suffered some health complaints that took him away from the industry for a while, but now he’s back with a collection of solo songs penned during his hiatus, appropriately called Seven Years.

Seven years is a long time for an album to gestate. The luxury of time has allowed Matt Joe to put together 12 beautiful songs. There are no filler tracks or numbers that don’t feel like they fit. This is quality work that is instantly accessible, with a great Americana feel that puts you right at ease. Think Ryan Adams meets Bruce Springsteen with an Aussie bent.

The first song and lead single “I’m Your Man,” charmed me, raising my anticipating for what was to come. The following song “Running on Time” is a great upbeat number which had me tapping my feet. It’s the ideal song for a Friday, making me think of raucous nights out in bars with great bands and beer flowing.

While Seven Years has its fair share of positivity, Matt Joe Gow has a knack for creating heartbreakers. “Bottle It Up, Pass It On,” is a stunning song about the end of a relationship where both parties still feel so much. The raw power of “Right By You” also packs an emotional punch. I love the poignant way the closing track “Bye” captures a moment.

Ordinarily when I’m listening to albums for review I comment on the handful of songs that really move me. As I listened to Seven Years I noticed I was taking notes about every song. That’s a testament to just how special this album is.

Seven Years will be released on October 20. He will play the following upcoming shows in Australia and New Zealand.

14 October 2016 – Rochester Hotel, Fitzroy (Ryan Adams Tribute Night)
15 October 2016 – Out On The Weekend Festival, Melbourne
20 October 2016 – Melbourne Festival, The Toff, Melbourne (supporting Grant Lee Phillips)
22 October 2016 – Melbourne Festival, The Toff, Melbourne (supporting Grant Lee Phillips)
5 November 2016 – The Spotted Mallard, Brunswick, Vic (Album launch)
18 November 2016 – Cromwell Gold n’ Notes Hoedown, Cromwell
19 November 2016 – Dog With Two Tails, Dunedin
20 November 2016 – The Starfish Cafe, Dunedin
1 December 2016 – Unicorn Hotel, Sydney
16 December 2016 – Ric’s Bar, Brisbane

Image used with permission from Matt Joe Gow

Posted on by Lauren Katulka

Jimmy Barnes @ Lizotte’s, Newcastle – 13 September 2016

Jimmy Barnes is the type of singer who can sell out entertainment centres, so it’s always a thrill when he decides to put on a more intimate show at a venue like Lizotte’s. It’s been far too long since I’ve made the trek down the Pacific Highway to the only remaining Lizotte’s venue, but the promise of “hits and rarities” was too appealing to resist.

Jimmy’s daughter Elly-May Barnes warmed up the crowd with her star-studded band, The Ragged Company. With The Superjesus’ Sarah McLeod on tambourine and The Art’s Kara Jayne and X Factor winner Reece Mastin on acoustic guitars, this act was always going to impress. Their set was made up of covers destined to please the mostly baby boomer crowd, including cuts from David Bowie, The Everly Brothers, and Neil Young. I was a little concerned at first, with Elly-May’s vocals clearly showing nerves. However, a couple of songs in she seemed to find her feet and sing with sweetness and surety. The band’s harmonies were gorgeous and their organic arrangements of these classics allowed them to shine. The quartet seemed to be having such fun together, and the crowd responded in kind.

While Elly-May and her crew were well received, her dad was the man we were all here to see. The atmosphere when he took the stage was electric. We hung on his every word as he delivered an empassioned version of “Trouble of the World,” a song Mahalia Jackson sang in the classic film Imitation of Life. After he was done Jimmy told us about watching the movie with his dad as a young boy, thinking little of the film but being so blown away by Mahalia’s performance that he decided to bestow the name upon his daughter. She was there to his left, supporting his rich, raspy voice with her own throughout the show.

And what a show it was. I’ve seen Jimmy Barnes so many times over the years. He was actually my first concert all those years ago. Most times I’ve seen Jimmy he was rocking out with the sound turned up to 11, delivering the kind of hits that have become Aussie radio staples. This was a different kind of show, one that allowed Jimmy to celebrate favourite songs from his own back catalogue and the world of music that wouldn’t fit at those other gigs. I never would have expected to hear Nat King Cole’s “Around the World” at a Jimmy Barnes gig, but he performed it beautifully. Flesh and Wood was a favourite album when I was growing up, and I loved hearing cuts from it like “Brother of Mine” and “You Can’t Make Love Without a Soul” that rarely make the live set. No doubt with the stories contained in his upcoming book Working Class Boy fresh in his mind, Jimmy punctuated his songs with tales of his childhood and relationship to music.

I heard a few grumbles about the notable absence of hit singles, but I didn’t mind doing without them. While a ballad like “Flame Trees” made sense on a night like this, Jimmy’s more raucous numbers would have seemed incongruous. I’ve heard those songs so many times before anyway, so getting the chance to hear other tracks provided a welcome change of pace. Where he might ordinarily close the night with “Working Class Man,” we heard a flawless rendition of “Love Me Tender” instead. It was the perfect way to close this very different and very special Jimmy Barnes show.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Backbone” – Anthony Callea

I’ve always admired Anthony Callea’s voice but I didn’t become a fan until he released his album Ladies and Gentlemen: The Songs of George Michael a few years ago. I loved George’s originals, but I found myself hearing the songs in a new way with Anthony’s release. So I was excited to see him tackling covers again on his latest album Backbone.

It’d be unfair to call this simply an album of covers though. Perhaps the term concept album would be more accurate. This collection is all about getting to the essence of each song, stripping away the bells and whistles of production and discovering its bare bones.

The approach brings out the beauty and depth in songs that once seemed like throwaway fluff, like Britney Spears’ “Sometimes” and Bananarama’s “Love in the First Degree.” The overproduction is gone, replaced for the most part with piano, Anthony’s voice, some backing vocals to support it, and those lyrics that are better than we all remembered them.

This album isn’t just about guilty pleasures, although they’re well represented. Other songs like “Man in the Mirror” and “We Belong” were already strong on their release. However, his versions do magnify the impact of the lyrics which sees them strike a little closer to the heart. Queen set the bar very high with another true classic, “Somebody to Love,” but the acapella version included here is one of the Backbone’s highlights. Steve Winwood’s “Higher Love” is another standout. The subtle sax line in is a delicious throwback to the original, although the stripped back delivery makes it brand new.

The only original song, the title track “Backbone,” is beautiful and honest. However, it seems a little out of place on this concept album, not because it’s not a cover but because it has a fuller sound that doesn’t quite gel with the other more organically treated tracks. Just a fraction more restraint would have made all the difference.

One slight mistep doesn’t make Backbone any less enjoyable though. For pop music lovers like me, it’s a real gem that breathes new life into so many songs that have a special place in my heart. With a focus on lyrics and feeling, in many cases Anthony has improved on the originals. When we’re talking about songs so beloved, that’s no small feat.

Backbone hits stores on September 16. Anthony will support its release with the following shows.

23 September 2016 – Revesby Workers Club, Revesby
24 September 2016 – The Cube, Campbelltown
30 September 2016 – The Palms at Crown, Melbourne

Posted on by Lauren Katulka

“The Quick & The Dead” – The Quick & The Dead

I thought I knew what to expect from The Quick & The Dead’s self-titled album. The band’s name conjures images of the Wild West which the album cover does little to dispel. And they hail from Glenrowan, the site of Ned Kelly’s last stand. The intro planted me firmly in the territory of outlaws, but this wasn’t quite the concept album I’d hoped for.

While there were some fiddles and Western allusions in the song’s second track, “Chapter I,” its crunchy electric guitar chords took me out of the Western setting. While some tracks, like the standout “Chapter II” feel like they’ve come from the Wild West, others would sit more comfortably in a sweaty Australian pub.

It took me a while to reconcile what I was actually hearing with the music I expected. I appreciated the easy blues lick of “Fighter (Water From Stone)” and the lyrics of “Saint” really resonated. The music throughout was solid, the vocals capable. However, I confess, I found it difficult to keep up with the album’s ambition at times.

The listener is taken on such a wild journey, from the jangly country-folk of “Chapter II” to a hard-rocking track like “Stone Cold Bones” straight after it. Then it’s not too long before River is joining the band for some rapid-fire rapping in “Riddle.” This album never gets boring, but the listening experience can be a bit jarring at times.

The Quick & The Dead show a lot of potential in this album. There are even flashes of brilliance. But I fear this Victorian band may have tried to do too much here. I can never fault a band for taking risks, even if some of them don’t pay off. In time I’m sure we’ll see The Quick & The Dead honing its sound, playing on its strengths, and producing a more cohesive album.

The Quick & The Dead is released on September 1.

Posted on by Lauren Katulka

“Grow Up/Grow Down” – The Peeks

With The Peeks winding down their Grow Up/Grow Down tour, I figured it was about time I sat down and listened to the album that shares its name. I adored the most recent single “Wanaka,” so my expectations were high for this release. The Melbourne indie folk act does not disappoint.

I love the way the band goes beyond the usual acoustic guitar strumming we hear on so many folk albums, adding gentle strings to a track like “Postman” and some brass to “Don’t Tell Your Mama.” The latter song is a real standout, with guest vocals from the sublime Annabelle Kay. This rollicking country-folk gem compelled me to tap my toes and clap my hands in time to the beat. Annabelle returns again later in the album for the poignant “Aubergine Sewing Machine.” “Night Owl” is another master stroke. I love the way it starts so small, then builds into an almost orchestral crescendo before melting away.

Grow Up/Grow Down is full of music that feels so good to listen to. It’s calming, folky, acoustic, organic heaven, perfect for slipping on during a lazy day or when you need a break from the hustle and bustle of life. The lyrics are insightful and poetic and Fraser Henry’s voice is always on point. His soaring falsetto is especially affecting.

Grow Up/Grow Down is available now.

Posted on by Lauren Katulka

Andrew de Silva’s Purple Revolution @ Ettalong Diggers, Ettalong Beach – 19 August 2016

The passing of Prince in April rocked me like no celebrity death ever has. I have thought of him every single day and cried more tears than perhaps anyone should over a celebrity they didn’t know. When I saw Andrew de Silva was paying tribute to the Purple One at a club a couple of minutes from my house, I knew I had to be there. Tribute shows tend to get a bad name. They’re the crowd-pleasing entertainment of RSLs, pleasant but ultimately unforgettable. However, when a talent like Andrew de Silva puts on a tribute show, it’s always going to be a cut above the average.

Don’t get me wrong. No one can match Prince. I’m pretty sure Andrew knows that. But he can sing very well and he’s got a real charisma. He’s also assembled an excellent band, especially the lead guitarist who was much better than I imagined. Again, no Prince, but someone capable of taking on the challenge.

It was only fitting that Prince’s own voice boomed from the speakers, the “Dearly beloved, we are gathered here today to get through this thing called life” monologue so familiar to fans, to kick start the show. “Let’s Go Crazy” was the perfect opener, a track that quickly had the dancefloor full with the true fans and the folks who seem to have stumbled in because it was a cheap show. Andrew played to them and the faithful, with a set featuring hits and some of the lesser-known tracks I didn’t expect to hear. A woman I was dancing with leaned over to me during “Money Don’t Matter 2 Night” and asked me whether it was a Prince song. There were a lot of blank faces during “Shhh” a song Prince wrote for Tevin Campbell’s album I’m Ready, but I was in raptures.

Ettalong Diggers probably wasn’t the best venue for a show like this. The dancefloor was always going to fill, and since the floor was flat anyone who wanted to sit couldn’t see. I was never going to sit down for long though. Every time I planned to take a rest, Andrew would launch into another favourite song. Tracks like “1999,” “I Could Never Take the Place of Your Man,” “I Would Die 4 U,” and “Baby I’m a Star” were faithfully delivered and so much fun. I did question the inclusion of Lenny Kravitz’ “Fly Away” though. While Lenny was influenced by Prince and the song is fine, playing it meant we got one less Prince song. With 39 studio albums, it’s not like Andrew should have been short on material.

Since Prince’s passing, I’ve often marvelled at the positivity of his musical legacy. As fans we miss him so terribly, yet listening to his music it’s impossible to wallow. A tribute night just months after the passing of such a talent could get maudlin if we weren’t left with such feel-good songs. I did feel a moment of sadness though during “Purple Rain.” Watching Prince perform this song in Brisbane in 2012, with purple glitter falling from the ceiling, was as close to a religious experience as I’ve ever had. Again earlier this year, this song was a real highlight of his Piano and a Microphone show at the State Theatre in Sydney. Andrew de Silva and his band did as good a job as anyone covering this song could do, yet I felt that wave of sadness wash over me. Because as good as it was, it wasn’t Prince. And I will never get to see him play that song and move me and everyone in the room that way again. I couldn’t help but wipe away a few tears at that. But before I could become the weird blubbering girl, we had “Little Red Corvette.” More positivity. Another wonderful song to lift me up.

No one can replace Prince. No one will ever touch him musically. And Andrew de Silva doesn’t try. He just keeps that music alive in the live area. He brings it to the diehard fans and to the people who just stumble in to the room because it’s an affordable way to spend a night. If you’re thinking about seeing the Purple Revolution show but you’re worried about it falling short, put your doubts aside. They might not be the originals, but Andrew de Silva and his band do an excellent job at celebrating the music of Prince.

Andrew de Silva will bring his Purple Revolution show to the following venues.

27 August 2016 – Matthew Flinders Hotel, Chadstone
17 September 2016 – SSA Club, Albury
30 September 2016 – Satellite Lounge @ Wheelers Hill Hotel, Wheelers Hill
22 October 2016 – Caledonian Hotel, Wonthaggi
28 October 2016 – Moama RSL, Echuca
19 November 2016 – Memo Music Hall, St Kilda
25 November 2016 – Jupiters Casino, Gold Coast

Posted on by Lauren Katulka

“Belong” – The Evening Cast

I’ve been closely following The Evening Cast’s career since they released their debut EP Lake in 2013. The Victorian band rarely puts a foot wrong, and that tradition has continued with the release of their first album Belong.

This album has everything I’ve always loved about The Evening Cast. The harmonies are sublime and there’s a gorgeous Australian feel to the songs, with their references to familiar places and effortless feel.

It’s just an album that feels good to listen to, hooking you in from the first notes of the gorgeous opening track “Ride With Me.” I was already familiar with “Gang of Fools,” the lead single, but I think it sounds even better within the context of this album. “Water” is one of my favourite songs on Belong. Its delicate opening, with some of the most vulnerable and relatable lyrics I’ve heard in some time, grabbed me from the get go. I also adore “South Coast,” with its beautiful words that speak to the yearning to escape so many of us feel from time to time. “Clover” is a beautiful way to finish. It’s a track with real heart and soul, and some of the most powerful vocals on the album.

So many bands struggle to make the transition from EPs to full-length album, but there are no evident teething problems here. Every song is so special in its own right. I already loved The Evening Cast, but with the release of this album I think I’ve fallen a little deeper.

Belong is in stores now.