Category: Reviews

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.

Posted on by Lauren Katulka

“City West” – Davey Craddock

Just a few days ago I was raving about Davey Craddock’s single “Peaceful Bay.” I really enjoyed this mellow folk-tinged number, and couldn’t wait to learn more about him on the album’s release. On hearing City West, I’m hooked.

When you hear a single, you’re given just a glimpse of what an artist can do. I knew Davey was an impressive songwriter and that he knew he had a beautiful soft side, but I didn’t really get a picture of who he was. I certainly didn’t expect the attitude and grit of this record, reminiscent of the stuff Ryan Adams produced in his heyday with its easy blend of country and folk influences. And then there’s the joy of discovering tunes featuring some of my favourite instruments, like harmonicas and slide guitars.

Often when I hear an album it becomes clear why the lead single is the single. It usually stands above the other tracks, separating itself with its heart or catchy melodies. But that’s not the case here. In fact, I found myself more captivated by other numbers, like the raucous “Three Sprays” and the plaintive “Number 9.” My favourite track is undoubtedly the gospel-tinged “There Will Be Light,” with its depiction of suburbia and its trappings. “Ayers Rock” is another delight, a gentle and poignant closer.

I liked Davey Craddock’s single, but on hearing his album I discovered there was so much more to him than I’d first realised. You’ll struggle to find better songs than the ones he’s composed here and the passion with which he delivers them is compelling. It might be only January, but I’ll be surprised if an album speaks to me more this year.

City West is released on 5 February. He’ll support its release with the following shows.

26 February 2016 – Major Toms, Kyneton
27 February 2016 – Junkyard, Maitland (FREE)
28 February 2016 – Django Bar, Sydney
5-6 March 2016 – Nannup Festival
12 March 2016 – RADA Studios, Perth
15-17 April 2016 – Fairbridge Festival, Fairbridge Village
29 April – 1 May 2016 – Mount Beauty Festival, Mount Beauty

Image used with permission from Thrillhill Music

Posted on by Lauren Katulka

Reece Mastin @ Ettalong Diggers, Ettalong Beach – 10 January 2016

When Lizotte’s Kincumber closed its doors last year, I worried that it may spell the end of great live music on the Central Coast. Thankfully a couple of other venues have taken up the mantle. One of them is Ettalong Diggers, an RSL club conveniently located just down the road from me. Sure, the deep-friend lamb cutlets and chips weren’t a patch on anything Lizotte’s ever served, and the raffle for Dyson fans that accompanied it didn’t great quite the same ambience as the chilled-sounds piped through the Lizotte’s PA. But any venue that can attract big name acts like Reece Mastin has my vote.

I’ve been keen to see Reece live since he released Change Colours, one of my favourite albums of 2015. The allure of his acoustic Down to Earth shows proved difficult to resist, especially when located so close to home.

Reece was ably supported by Alys Ffion, a gorgeous young thing my husband described as a cross between Taylor Swift and Lisa Loeb. I can definitely see where he’s coming from. Her songwriting has that diary-confessional feel of early T-Swift material, but her voice has a little more earthiness and quirk, just like Lisa Loeb. It takes a lot for a solo support act to command a room with just an acoustic guitar by her side, but the crowd seemed to be hanging on her every word. I know we were. She treated us to a generous set of original songs, yet it was so good that it felt over far too soon. Thankfully she was back after the break, providing backup vocals and guitar parts during Reece’s set.

While I couldn’t take my eyes off Alys during her earlier performance, the charismatic Mr Mastin stole focus during his set. He has such a strong voice that reminds me a little of Jimmy Barnes; clearly the time they spent recording this album has been a good influence. There’s also something special about watching an artist who believes so strongly in the music they’re making. He gave it his all, and that passion he has shone through. He was so giving both in his performance and the moments between songs, when he shared tales of time in the studio and the stories behind the songs.

It was telling that despite releasing four top 20 singles from his first two albums, Reece played just two songs from these early days, “Shut Up and Kiss Me” and “Rock Star.” Instead he focused on the new album Change Colours, which suited me just fine. His performances of “For You,” “Stand Up Be Proud,” “Heartache Blues, and the raucous closer “You Gotta Go” were especially strong. Reece also hinted at what’s to come. I wish I recalled the name of a new song he played; it was stunning. He also covered “Muddy Water,” telling us that the music of the original artist Paul Rodgers and his band Free reflects the kind of music he wants to make. As a fan of Free (the only one in the audience apparently!), I was so excited to hear the cover and what an influence this sort of music is for him.

Reece Mastin might have started his career as a fairly lightweight pop act, but his music today has so much more weight. This Ettalong Beach show might have been my first Reece Mastin show, but given what I saw on Sunday night it certainly won’t be my last.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Adam Brand and the Outlaws” – Adam Brand and the Outlaws

Star-studded country act Adam Brand and The Outlaws deliver a covers album that’s several cuts above the average with their self-titled debut. Adam Brand’s posse includes multiple Golden Guitar winner Drew McAlister, Travis Collins, whose album Wired reached number one on the local country charts, former Baby Animal Matt Cornell, and renowned songwriter Mike Carr. Their collective experience shows on this release.
“Good Year For The Outlaw” is such a great introduction not just to this album, but the band. It’s got country written all over it, and stellar performances across the board, from Adam Brand’s gritty vocals to those gorgeous fiddles. When the band joined their voices and implored me to “Turn it up” I couldn’t help but oblige.

I never imagined I’d hear a country version of Poison’s “Nothing But a Good Time” but it works. It feels like the sort of thing you might hear in a dive bar somewhere in the middle of nowhere, where the drinks flow freely and the crowd is amped. “Fat Bottomed Girls” may be even more fun than it was when Queen released it. Their take on “Bad Case of Loving You” is another absolutely corker.

“Mama Don’t Let Your Babies” is one of the more predictable choices on the album, but it lets the band show their tender side. They might love to party, but there’s a bit more depth here. The poignant “Good Riddance (Time of Your Life)” is a lovely way to close out an album so full of energy and unbridled enthusiasm, a moment of quiet reflection after the party’s over.

Adam Brand and the Outlaws have such strong musical instincts. So many of these song choices didn’t make sense to me on paper, but hearing them I realised I’d judged too quickly. Their debut is damned good fun, a collection of familiar songs reinterpreted in such interesting ways. They’re not dramatically different enough to alienate fans of the originals, but the band’s definitely breathed new life into these classics from the worlds of country and rock music.

Adam Brand and the Outlaws self-titled debut hits stores today. They’re celebrating its release with the following shows all around the country over the coming months.

22 January 2016 – Blazes at West Tamworth Leagues Club, Tamworth
25 January 2016 – Dargo River Inn, Dargo
27 January 2016 – Flying Horse Bar & Brewery, Warrnambool
28 January 2016 – Hallam Hotel, Hallam
29 January 2016 – Gateway Hotel, Geelong
30 January 2016 – Kinross Woolshed Hotel, Thurgoona (FREE)
31 January 2016 – Capital Theatre, Bendigo
3 February 2016 – Muswellbrook RSL Club, Muswellbrook
4 February 2016 – Ettalong Diggers Club, Ettalong Beach
5 February 2016 – Waves Towradgi, Towradgi Beach
6 February 2016 – Toronto Workers Club, Toronto
7 February 2016 – Goulburn Workers Club, Goulburn
11 February 2016 – Caloundra Power Boat Club, Caloundra
12 February 2016 – Kedron Wavell Services Club, Chermside
13 February 2016 – Twin Towns Services Club, Tweed Heads
14 February 2016 – Blue Mountains Hotel, Toowoomba
19 February 2016 – Country Club, Launceston
20 February 2016 – Wrestpoint Entertainment Centre, Hobart
25 February 2016 – Inverell RSM, Inverell
26 February 2016 – Laurieton United Services, Laurieton
27 February 2016 – Moonee Beach Tavern, Moonee Beach
28 February 2016 – Club Forster, Forster
3 March 2016 – Norwood Hotel, Norwood
4 March 2016 – Old Mill Hotel, Hahndorf
5 March 2016 – Mundarring Weir Hotel, Mundarring Weir
6 March 2016 – Ravenswood Hotel, Ravenswood
17 March 2016 – Dubbo RSL, Dubbo
18 March 2016 – Club Mudgee, Mudgee
19 March 2016 – Rooty Hill RSL, Rooty Hill

Posted on by Lauren Katulka

“Jess & Matt” – Jess & Matt

While I’m an avid viewer of The X Factor, I don’t think I’ve ever bothered to listen to any of the winner’s albums. They typically have little more than the performances on the show recut, and while I’ve enjoyed those at the time, I’ve rarely been in a hurry to hear them again. But this year we had Jess & Matt, an act that is so special that when I was sent a streaming copy of their self-titled debut album, I couldn’t wait to hit play.

Yes, this largely follows the same formula of other post-X Factor releases. We get the act in a studio to recreate what they did in the show just in time for a Christmas release. But the creativity of Matt & Jess, and mentor Guy Sebastian, makes this a little more than just an album of covers. Anyone who’s seen the show will know how under Guy’s guidance, the duo put their stamp on classic songs like “Dancing in the Dark,” “Heart of Glass,” and “You’re the One That I Want,” as well as newer tracks like “Lay Me Down” and “Do You Remember.”

The visuals were significant component of those performances, whether it was watching elaborate staging from Square Division or simply the couple gazing into one another’s eyes. That’s gone when you listen to the album, but nothing can take away the way these two voices harmonise so beautifully. Separately they’re already exceptional, but together, sublime. When we first heard the single “Nothing Matters” my husband and I felt Jess & Matt deserved a better song, and it still stands out as the weakest track on this album. But to sweeten the deal there’s also exceptional covers of two songs not performed on the show “I’d Really Love to See You Tonight” and “Sister Golden Hair.”

Given that this is the post-X Factor release, it’s probably only going to reach the ears of those who only admired Jess & Matt on the show. But it deserves to be heard much more widely than that. I imagine everyone from the cool kids who listen to acoustic covers on Spotify to my parents really digging what Jess & Matt do. I urge you to take a chance on this album, because it’s much more than simply a snapshot of time spent on a reality TV show.