Category: Reviews

Posted on by Lauren Katulka

“With Love and Fury” – Brodsky Quartet & Katie Noonan

In this world of digital downloads and shuffle modes, I’ve heard many people say that the concept album is dead. But it seems they forgot to tell Katie Noonan. She’s created what is arguably one of her most ambitious albums to date with her new release With Love and Fury.

With Love and Fury sees Katie and the Brodsky Quartet collaborating for the first time on songs with lyrics drawn from the poetry of the late Judith Wright. The pieces were composed by a who’s who of the classical world including Richard Tognetti, David Hirschfelder, Carl Vine, Elena Kats-Chernin, and even Katie herself.

I must admit, when I first slipped this album on, I just wasn’t sure whether I’d write about it or not. It’s so different to anything I’ve heard Katie Noonan doing before. I couldn’t quite get it. But Kate is one of those artists that is ever evolving, producing quality music and moving on to the next project before things get stale.

The Brodsky Quartet are some of the UK’s best musicians, and Katie Noonan arguably has one of the best voices in this wide brown land. I’ve always known that, but listening to this album I think even I had underestimated her. She hits heights I’ve never heard, delivering songs that are impressively operatic.

I’m still not sure this is the kind of music I’ll reach for time and time again. It’s just so different, with songs that veer wildly from the classic structure of verses and choruses. While that meant I struggled to get into some songs, others really moved me. This album is brave and creative. And in a musical landscape that has a little too much beige, those virtues count for something.

With Love and Fury is released on April 1. Kate will tour the album with the Brodsky Quartet all around the country.

28 April 2016 – QPAC Concert Hall, Brisbane
29 April 2016 – Melbourne Recital Centre, Melbourne
30 April 2016 – Canberra International Music Festival, Canberra
1 May 2016 – Her Majesty’s Theatre, Adelaide
2 May 2016 – City Recital Hall, Sydney
4 May 2016 – Albany Entertainment Centre, Albany
5 May 2016 – Perth Concert Hall, Perth

Posted on by Lauren Katulka

“The Essential Alison MacCallum” – Alison MacCallum

We’re a bit spoiled in the modern musical era. We can head into our nearest JB Hi Fi and find just about any music on CD, whether it’s something from the vault or the latest release. We take for granted that we can find music from our favourite musical acts. So I was surprised to hear that Alison MacCallum, the first Australian female singer to ever have a charting album, has only just had her music available on CD. I’m also slightly ashamed to admit that until now, her music had passed me by.

I’ve righted that wrong though, listening to both CDs that make up The Essential Alison MacCallum this morning. Three years in the making, the album contains just about everything a fan could want, from “I Ain’t Got the Time,” her first chart hit with underground act Freshwater, the Vanda & Young penned “Superman,” and “It’s Time,” the campaign song which helped bring Gough Whitlam to power. There are also some stellar covers, including one of my favourite soul songs, “To Love Somebody” and Ted Mulry’s “Take Me Back.”

Apparently Alison was often compared to Janis Joplin. I can hear that. Few artists can be at one level with their voice, then effortlessly hit notes at the top end with so much heart and passion. But there’s a greater purity to Alison’s voice which is so lovely. I adore Janis’ gravelly delivery, but Alison’s voice somehow manages to be angelic, yet gutsy.

For fans, The Essential Alison MacCallum will be a welcome addition to their collection. I just hope I’m not the only one of the people too young to remember who discovers her music through this long overdue CD release.

Posted on by Lauren Katulka

Conchita @ Sydney Opera House, Sydney – 3 March 2016

I fell fast for Conchita when she graced the Eurovision stage in Copenhagen in 2014. I had never seen anything like her. Looking beyond the beard, she performed with such poise and passion. I was entranced. When she gave her victory speech and uttered those immortal words, “We are unstoppable” I applauded loudly from my lounge room. Her victory seemed to stand for something bigger. While “Rise Like a Phoenix” was undoubtedly the song of the competition, her win went beyond the ballad, indicating an acceptance of diversity and difference so timely as the world fought for marriage equality.

Unlike so many Eurovision winners, Conchita has refused to fade away. She’s visited Australia several times since her big win, but last Thursday was her first full-length concert in Sydney. And didn’t she do it in style. Backed by the Sydney Symphony Orchestra, on the stage of the Opera House’s concert hall, supported by some of the best talents in the land, this show was so deserving of the diva.

Conchita started the night paying tribute to one of her greatest inspirations, Dame Shirley Bassey. “Where Do I Begin?” was such a fitting introduction to the night, easing us into the performance before Trevor Ashley, appearing as Ms Bassey herself, joined Conchita for a stunning cover of “Diamonds are Forever.” Never one to hog the limelight, Conchita graciously stepped aside to give “Shirley” her moment on “Goldfinger.” Dame Shirley’s shoes are big ones to fill, but Trevor’s vocals and mannerisms were spot on.

The night continued in much the same vein, with Conchita treating us to some of her favourite covers and tracks from her own album, interspersed with anecdotes about her journey and life after Eurovision. She was joined every now and again by our homegrown acts. Courtney Act seems like she’s only gotten stronger since Australian Idol. She joined Conchita for “River Deep, Mountain High” because going solo with an emotional performance of Joni Mitchell’s “Both Sides Now.”

Paul Capsis showed why he’s one of Australia’s most acclaimed cabaret performers, joining Conchita for a breathtaking cover of “Bang Bang (My Baby Shot Me Down).” The enthusiasm with which he performed Nina Simone’s “Feeling Good” was something to behold.

On paper Guy Sebastian might have seemed a little out of place, a fairly vanilla addition on such a fabulously colourful night. However, reprising his breakout Australian Idol performance of “Climb Every Mountain” with Conchita was sublime. “Tonight Again,” the song he sang at Eurovision, was the perfect solo song for this crowd.

And of course there was Dami Im, Australia’s newest Eurovision star announced on the night. Her incredible version of “Waterloo” should have left no doubt in the audience’s minds that she’s the right woman for the job.

There were so many stars, but none shone brighter than Conchita. She anchored the evening beautifully, performing with such elegance and style. She has so much charisma and one of the best voices I’ve heard. I was feeling a little fatigue after so many concerts close together, but as I rose to my feet and confetti rained down while Conchita waved goodbye, I was on cloud nine. What a way to end such a busy concert period.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Doug Parkinson @ West Leagues, Newcastle – 2 March 2016

After seeing six concerts in the last two weeks, I’m feeling a bit exhausted. Of course none were on the Central Coast, so those trips up and down the freeway have taken their toll. I might be bleary-eyed and running on empty right now, but among them were some of the best shows I’ve ever seen. I love the excitement of a big-name show by an A-List artist but I think there’s also something so special about catching a great act in an RSL. He might not have been Prince or Rob Thomas, but I was pretty psyched about seeing Doug Parkinson paying tribute to Joe Cocker at Newcastle’s West Leagues.

A Newcastle boy himself, as Doug informed us, he seemed to be in good spirits as he took to the stage. The first half of the set was made up of familiar covers that you’ve likely heard him performing before. He regaled us with tales of the times he recorded this song or fell in love with that. “Unchained Melody” and “You Don’t Know Me.” Doug must have sung “Dear Prudence” more times than he can count, but you wouldn’t know it based on his heartfelt delivery. Doug’s voice doesn’t have quite the precision it once did, but what it lacks in refinement it makes up for in richness. Even in his advancing years, he has one of the most stunning voices on the Australian musical landscape. I couldn’t wait to see what he’d do to the songs of Joe Cocker in the second half.

In many ways the life of Joe Cocker echoed Doug’s own journey. Both were boys from industry towns, a little wild in their day, that made their living singing passionate renditions of other people’s songs. It should have been the perfect marriage, but there were a few things that left me wanting more. Clearly Doug is more comfortable with the covers in the first half than the Joe Cocker songs in the second. He forgot the lyrics countless times and didn’t hide the fact very well either. That sort of stuff really should be sorted out before a tour goes live I think. Doug can certainly sing better than Joe ever could. His rendition of “You Are So Beautiful,” with a much sweeter ending than Joe Cocker’s slightly out-of-tune squeaking, left no doubt about that. But there’s a real passion for the material that I found lacking a few times. It was especially apparent in “With a Little Help From My Friends.” I remember watching the live footage from Woodstock shortly after Joe’s passing and marvelling at the way it can still give me goosebumps. You will not find a cover that’s delivered with more passion. Doug sang it well, but he certainly didn’t dig in to the song the way I wanted him to.

That being said, I still had a fun night. And for $35, I’ve got no right to complain. It was worth that to see Doug doing “Dear Prudence” again and unleashing his sexy side in “You Can Leave Your Hat On.” “Up Where We Belong,” which saw Doug duetting with his stellar backing vocalists, was another special moment. A night out with Doug and such quality songs can never be a bad thing. However, the flaws detracted a little and they made this night out less than it might have been.

Image source: own photo

Posted on by Lauren Katulka

Disney Under the Stars @ Sydney Opera House Forecourt, Sydney – 27 February 2016

Like so many Australians, some of my earliest musical memories came from watching Disney movies. Songs like “We Are Siamese” and “Once Upon a Dream” became early favourites. My parents bought my sister and I the read-a-long books with cassettes, and while the stories were fun, it was always the bonus songs at the end that got us dancing. When music makes such an early impression on you, I don’t think it ever really leaves your heart. So when I heard of the Disney Under the Stars concert, I snapped up tickets.

I expected my husband and I would be one of the few childless couples. However, most of the people in our immediate area were in the same boat, adults unashamed of their passion for Disney. We discussed our favourite movies and characters until Chong Lim and his orchestra took to the stage and treated us to an instrumental medley of some of Disney’s most beloved songs, complete with an animated background of movie moments.

David Campbell, Ricki Lee, Lucy Durack, and Harrison Craig soon joined the musicians for “Part of Your World” from Aladdin. It was a wonderful start to a night that combined nostalgia, magic, and fun, all of the essential Disney elements.
There were so many highlights that took me back to some of my favourite film memories. Ricki Lee might have looked more like Ariel than Lucy Durack, but the blonde stage star carried off the animated mermaid’s signature song “Part of Your World” beautifully. Ricki Lee did her part playing the princess roles too, with superb solo performances of “Colours of the Wind” and “Let it Go.” I’d heard David Campbell sing “I Wanna Be Like You” from The Jungle Book at his shows before, but it lost nothing despite the familiarity. Speaking of David, his performance of one of the songs from The Hunchback of Notre Dame was one of the true showstoppers. I also loved seeing him pal around with Harrison Craig in “You’ve Got a Friend in Me.” A rambunctious group performance of “Supercalifragilisticexpialidocious” had everyone clapping and singing along. The good versus evil dichotomy of Lucy Durack and Ricki Lee’s performance of “Once Upon a Dream” was really inventive, although I can’t help thinking it was a little dark for those little girls dressed as princesses in the crowd.

It’s very hard on a night like this to please everybody. As an older concert goer, I could have done without the three (or was it four?) songs from Frozen played. While I enjoyed “Mother Knows Best” from Tangled and “Touch the Sky” from Brave, I could have easily given them up for a few older Disney tracks. I felt for the woman sitting in front of me who adored Cinderella, yet didn’t get to hear one song from this film. Some of my personal favourites, Dumbo and Robin Hood, were also neglected. But for the younger crowd, there’s never enough Frozen, and those new movies are the one they have fond childhood memories of. While big kids like me could have fun on a night like this, it’s perhaps more important the smallest members of the audience are not left feeling short-changed. Sometimes tells me it’s what Walt would have wanted.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Rob Thomas @ State Theatre, Sydney – 26 February 2016

When I was in my late teens and early 20s, one Matchbox Twenty or Rob Thomas show was never enough. I’d see multiple gigs, never wanting the tour to be over. They were so much fun, but the sets rarely changed from night to night. I’d get excited about the odd cover that was different and insist that was worth the price of admission alone.

So when I bought tickets for Rob Thomas’ State Theatre show, despite having plans to catch him at the Opera House Forecourt, I expected a similar scenario. What I got was two completely shows this tour, both wonderful in their own way. After the party atmosphere of the Opera House show, it was wonderful to have a quieter night and enjoy the intimate and personal vibe of the State Theatre show.

Rob downsized his band to a trio and delivered stripped back versions of songs, ensuring their lyrics came to the fore. It was so exciting to hear a new complexion to upbeat tracks I’d heard a couple of nights before like “This Is How a Heart Breaks” and “Lonely No More.” I also loved the chance to hear the songs that didn’t make Wednesday night’s performance. “Heaven Help Me” from The Great Unknown probably would have been lost in the electric set, but it was perfect for this more intimate evening. “Sunday Morning, New York Blue,” a track lifted not from an album but the Someday EP, was another welcome new addition.

But for a girl whose love for Rob’s music began with Matchbox Twenty, the number of tracks that came from his band was really exciting. Ordinarily Rob plays just a couple of Matchbox songs, preferring to stick to the solo material. However, the stars aligned on Friday night and we heard everything from hits like “Bright Lights,” “Disease,” and “Bent” to the moody “You Won’t Be Mine,” an album track from Mad Season.

Anyone who’s read this blog for a while knows I love an acoustic show. Jumping around and dancing to a band turned up to 11 is a blast, but it rarely moves me as much as sitting down listening to songs stripped back to their core. Add in personal stories about the origin of those songs and I’m sold. I’ve seen Rob Thomas perform many times, and I’m sure I’ll see him many more, but Friday night’s acoustic show is the one that will stand out from the rest. It was perfection.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Rob Thomas @ Sydney Opera House Forecourt, Sydney – 24 February 2016

It’s been six long years since Rob Thomas graced us with a solo tour. That time around he was promoting his sophomore solo album Cradlesong and the heavens opened up, making Hope Estate a soggy muddy mess. Yesterday couldn’t have been more different, a steamy summer’s day that made me worry about getting burned even with a wide-brimmed hat and healthy helping of 50+ sunscreen. Those weather extremes aren’t ideal for an outdoor show, but when I know Rob Thomas will soon be in front of me I’m always willing to grin and bear it.

But first I had to make it through Pete Murray. I don’t know what it is about Pete Murray. He’s a good-looking guy who sings folky acoustic guitar driven music. On paper, he’s exactly what I like. However, I’ve just never been able to engage with him. Probably those moments anticipating a performance from my very favourite singer in the world weren’t the ones I’d suddenly develop an appreciation for Pete. I will say that he performed very well. He joked about the men a little less reluctant to embrace his set, and encouraged them to sing along as well. He sounded just as he does on the radio and he has a really tight band. His lead guitarist was particularly impressive. He played all the hits, although hearing them one after another only reinforced my idea that his music is a little samey. I couldn’t fault what he did. It just still wasn’t for me.

Rob Thomas on the other hand …

I wondered whether in a week that was sadly shrouded in controversy I could expect the same energy and fun from Rob, but as he burst out with “Give Me the Meltdown,” a high-energy number from Cradlesong. It left no doubt that we were all there to have a good time, and that’s just what we did. In fact, I think I might have had the most fun I’ve ever had at a Rob Thomas show, and believe me there have been a few. Rob kept the energy up with “Fallin’ to Pieces,” “Lonely No More,” and “Her Diamonds.” I marvelled at the song choices, a wonderful mix of the numbers everyone knew and the tracks near and dear to the heart of the fans who buy the albums.

A stripped back, raw performance of “Ever the Same” had me choked up. It was as near to perfection as I think I’ve ever heard. “Pieces,” another ballad and one of the rare songs from the new album The Great Unknown to make the set, was so powerful. His lively cover of “Let’s Dance” was a fitting tribute to Bowie. “Streetcorner Symphony,” with its lyrics of being there for one another, sisters and brothers of every different colour, was the most delightful way of putting all of the media muckraking to rest.

Rob’s banter with the crowd might have got him in trouble last week, but he wasn’t about to stop giving of himself that way. I love that. For me it’s the stories that make a concert. Moments like hearing about the admiration he has for his wife’s strength, and how that inspired him to write the album’s title track, “The Great Unknown.” Moments like listening to him speak about living in the moment and appreciating the beauty in it, even if it’s something as seemingly insignificant as standing around while your dog defecates, made a song like “Little Wonders” resonate a little more deeply.

There’s a line in that song that says “I cannot forget the way I feel right now.” Standing there, watching my very favourite singer, a person who has such a special place in my heart, I thought about just how I felt, how wonderful that very moment was.

You know the best thing about it all though? For the last few tours I’ve scaled back my concert activities. When I was in my late teens and early 20s, I’d always see two or three shows on Rob’s solo or Matchbox Twenty tours. Then I got older and married and reasoned I needed to be responsible, that I had other priorities in my life. I was still committed to this notion until Rob announced a State Theatre show. The allure of seeing my favourite singer in such a small venue was so strong that I snapped up tickets.

So as I watched the show last night, there was none of that sadness I usually get, because this tour’s not over for me. Tomorrow night I get to do it all again, with Rob playing a more intimate, stripped back set, so he informed us. I am so thrilled that this concert high gets to last a little longer. Rob’s going to have to pull out something special to top last night’s gig, but I’m sure he’s up to the task.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Prince @ State Theatre, Sydney – 21 February 2016

I feel like I’ve been floating on a bit of a cloud since Sunday night. Not even a workload so heavy that I haven’t been able to write up a review until now has been able to penetrate my post-concert haze. That is the feeling you get when you leave one of the very best concerts you’ve ever seen. That’s how I feel after witnessing the first State Theatre show of Prince’s Piano and a Microphone tour.

In true rock star style, Prince had us waiting half an hour after the time the show was scheduled to start before gracing us with his presence. Despite sitting alone, a result of the very strict two-limit ticket that forced my party of three to split up, I didn’t feel lonely. I was surrounded by amazing people whose enthusiasm for the Purple One matched my own. As we recounted tales of tours past and watched the officious security guards enforcing the “no photos” rule, the time flew. Certainly all was forgiven by the time the words, “Dearly beloved, we are gathered here today to celebrate this thing we call life” echoed from the speakers. Prince stood dramatically in silhouette at the back of the stage, pausing for applause before taking his place at the piano and launching into “Let’s Go Crazy,” a rollicking good time which set the tone for the evening.

This was exactly the intimate show I was hoping for. With just his voice, a kaleidoscopic projection screen, and a piano with synchronised synth strings triggered by the keys to give some songs a little more depth, Prince put on a show that reinforced what a special artist he is. The set list spanned the breadth of his discography, from early 80s songs like “Controversy” to “RockNRoll LoveAffair” and “Black Muse,” two songs from his new album HitNRun Phase Two. Covers of “Stand!” from Sly and the Family Stone and “A Case of You” from Joni Mitchell paid tribute to his influences.

Prince has always been an enigmatic figure, but I felt the walls came down on this tour. His version of “Love Thy Will Be Done,” which he wrote for Martika, was truly breathtaking. “I Love U In Me” was just as sexy as we all hoped it would be. We squealed with delight as Prince invited a dancing female fan up on stage to groove by his piano during “Raspberry Beret.” He again called for dancing reinforcements during “Kiss,” when he spotted a young boy boogying with some of the fastest feet I’ve ever seen. I was sure he might trip over as he danced frenetically to the obvious amusement of the Purple One. He invited us to sing the backup parts for “Cream,” and admonished us playfully when we would sing off key or encroach on his parts, insisting we’d need to start that bit again.

After seeing Prince perform with a full band in 2012, it was so exciting to see him bring a different complexion to these songs. There was a wistfulness about “I Could Never Take the Place Of Your Man” that I’d never heard before. “How Come U Don’t Call Me Anymore” had a soul that had me stamping my feet in appreciation. I’ve always considering Prince one of the most underappreciated guitarists of our time, but he’s also breathtaking on the piano. I marvelled as “The Question of U” morphed into Beethoven’s “Fur Elise.” On his third and final encore, Prince treated us to “Purple Rain,” the perfect song to close out an incredible night.

I have never spent $400 on a concert ticket before and I listened to plenty of people who said I was mad to do it this time. But this show was worth every single cent. I expected something magical for the price, and Prince delivered in spades. I feel so blessed to have been in the audience of this very special show, one of the very best I have ever seen and am likely to see.

Image source: own photo

Posted on by Lauren Katulka

We’ve Come a Long Way, Darling – Luke Daniel Peacock

After being impressed by Luke Daniel Peacock’s single “We’ve Come a Long Way, Darling,” I couldn’t wait to wrap my ears around his album. I was thrilled to find more of the husky vocals and first-class songwriting that delighted me on the lead track.

As I wasn’t aware of the first single “Dreambox,” I found it interesting that the most recent single and title track doesn’t make an appearance to the very end of this album. It meant that for most of the recording I was listening to music that for me felt brand new. Despite this, this collection of songs felt very familiar. Not in a “I’ve heard this all before” way, but in a comfortable, accessible way that’s so appealing. This is an artist who knows what he’s doing, and he does it so well that you’re instantly put at ease.

The opening track “Dreambox” grabbed me from the get go with its hooky guitar-driven melody and relatable lyrics. “Alphabet City” is a stand-out with its stirring instrumentation and gritty, yet hopeful, lyrics. The delicate instrumentation of “Trees” really let the message of this special song shine through. “My Shit” might not have the most eloquent of titles, but it’s a powerful number about loving through the hard times.

There are shades of Bruce Springsteen and Ryan Adams in this album, yet Luke Daniel Peacock’s own original voice rings out so strong. We’ve Come a Long Way, Darling is a remarkable album from one of Australia’s most promising new singer-songwriters.

We’ve Come a Long Way, Darling is available on CD, vinyl, and as a digital download today.

Posted on by Lauren Katulka

“Synthia” – The Jezabels

The Jezabels are back with a brand new album, Synthia. So often bands struggle to maintain the quality of their music over an extended period of time, but there are no such worries with this stellar Australian act. In fact, this third album may just be their best yet.

Ordinarily when I listen to an album I might review I find myself scribbling notes as I listen. However, I was too entranced by the music the first go round to be pulled out of it with observations. I just wanted to let it wash over me.

There’s something so cathartic about listening to songs like the opening track “Stand and Deliver” and the breathtaking “Smile” that build so beautifully to searing crescendos. The Jezabels know how to do epic more convincingly than most acts on the scene.

They’re also a band that knows how to use light and shade so well. I love that driving intensity they can deliver in a song like “My Love is My Disease,” and then how they can leave you hanging on ever moment in quieter periods, like the first half of “Smile.”

“A Message From My Mothers Passed” is one of those songs so beautiful that it stopped me in my tracks. I was similarly enthralled by the exquisite “Flowers in the Attic.” “Stamina,” a song so full of wisdom, ends the album perfectly.

Synthia is likely to be everything fans hope it will be. The darkness and drama of the songs The Jezabels create is like nothing else around. And Hayley Mary’s vocals that seem to cut through so effortlessly are some of the best in the business. This album is sure to cement The Jezabels reputation as one of the best Australian acts making music today.

Synthia hits stores on 12 February.