Category: Reviews

Posted on by Lauren Katulka

“Wild Love” – Jake Bosci

Queensland pop-rock act Jake Bosci has taken me back to my teens with his new EP Wild Love.

This collection of six songs has me feeling nostalgic for a couple of reasons. Firstly, the tracks tackle themes which tap into teenage me. They speak of big loves that promise to last the test of time, heartache that rips your guts out, warring parents that just make you want to run away from it all. It’s been a long while since I’ve experienced that kind of turmoil firsthand, but you never forget it.

The sound also has me reminiscing. It reminds me of that period in the early noughties where acts like John Mayer, Gavin Degraw, Teddy Geiger, and Ryan Cabrera were just breaking through. Like these artists, Jake Bosci wears his heart on his sleeve and delivers songs with such earnest intent that even when the lyrics get a little cheesy, you believe them. By the time the closing track, the epic “Let Love Go,” rolled around I was hooked.

I do wish Wild Love was a little less produced though. Too often the production overshadows the vocals, almost as if Jake doesn’t trust in his own voice enough. I’d love to hear these songs really stripped back, even in acoustic mode, because they really are solid. The wonderful single “Heartbreak” heads in this direction, but the vocals still aren’t pure enough for my tastes.

Jake Bosci’s EP Wild Love is available on iTunes now.

Posted on by Lauren Katulka

Sam Smith @ Qantas Credit Union Arena, Sydney – 4 December 2015

Like so many of the faithful fans who filed into Qantas Credit Union Arena on Friday night, it felt like this Sam Smith show had been a long time coming. He’d cancelled the last shows after he needed throat surgery, so expectations were high that when the dates finally came, they’d be something special. He did not disappoint.

I must admit, I was less enthusiastic about support act Emma Louise. I’ve heard several of her singles over the years, and they just didn’t grab me. I’m not sure what it is. Her voice is stunning, and she puts on a decent show, but I think the songs just miss the hooks I need to draw me in. Having said that though, I might have been in the minority. I’m not sure whether the general admission holders on the floor were just happy to have someone up on stage, or whether it was Emma Louise herself, but I can’t recall a lot of crowds responding so rapturously to the support act.

While I couldn’t quite get behind Emma Louise, Sam Smith had me from the get go with “Life Support.” His voice, stunning on the recordings, is every bit as strong in the flesh. But it’s his charisma that I wasn’t as aware of. He really has an energy that radiates. So often when you buy the cheap seats you lose that energy, but he captivated us all with that certain something. He’s also a really giving performer. I love an artist who wants to really share some of themselves with an audience, who tells stories about the songs and the circumstances that formed them.

With just one album, the award-winning In the Lonely Hour, under his belt, fans were treated to almost everything they wanted to hear. I must admit to feeling a twinge of disappointment that one of my personal favourites, “Good Thing,” didn’t make the set list, but it’s impossible to feel too put out when it’s the only song that wasn’t featured. A man’s got to get the red pen out somewhere, and I appreciated that he rewarded the dedication of the really serious fans with the Disclosure track “Together” and a track from the pre-album EP of the same name, “Nirvana.”

Sam Smith is a proper soul singer, so it felt so right to see him busting out a few covers, like the excellent medley of Amy Winehouse’s “Tears Dry on Their Own,” dedicated to the late soul singer, “Ain’t No Mountain High Enough,” and “Le Freak.” “Not in That Way” provided a natural segue for a little “Can’t Help Falling in Love,” and taking “Money on My Mind” into CeCe Peniston’s “Finally” was the perfect way to close the first act of the show. The encore of “Latch,” “Make it to Me,” and finally the breakthrough hit “Stay With Me” had everyone in raptures. Those covers weren’t just a way of padding out a set. They helped balance it, adding some brightness that helped even out the darkness of the album tracks and more closely reflected Sam’s current mood.

I couldn’t help but think of George Michael as I watched Sam Smith perform, looking so dapper in his suit, charming the audience, and singing like a dream. Singers of that ilk don’t come along every day, and I feel very lucky to have seen him now, before he’s selling out stadiums. With talent like his, that time isn’t too far off.

Image source: own photo

Posted on by Lauren Katulka

“Eager Hearts” – Hollywood Heartache

It might come as a surprise considering that I run a music blog, but I believe music doesn’t need to be taken too seriously. Of course I love music that gets you in the gut and really moves you to the core. But I can also appreciate music that just feels good to listen to. It might be dismissed as lightweight and overly commercial by other music blogs, but I think there’s certainly a place for music that’s nothing but fun. So while an overly critical music blogger might scoff at the pop-rock stuff Hollywood Heartache has put together for their debut EP Eager Hearts, I can get on board.

With song titles like “High School Sweetheart” and the single “Summer Romance,” you kind of know what you’re getting here. The songs are aimed squarely at a tween to teen audience, predominantly female, who’ll happily sing along to all those “woah ho hos” and “yeah yeahs.” They plumb familiar ground of falling in love and getting your heart broken. These aren’t the kind of songs that are going to change the world. But they’re bound to worm themselves into the hearts of the listening public who can hear their own stories in the tracks.

I think what I love most about Hollywood Heartache is the truth that comes through what they do. On the surface the music they’re making might not seem too dissimilar from what One Direction have been doing, and what the Jonas Brothers did before them, and what countless other groups of cute young things did before that. But this Gold Coast four-piece have written these songs, played their own instruments, and laid it all down in a home studio. Engineering, mixing, and mastering; again it was all them. This is a band not put together and moulded by a corporate music giant, but just a group of guys creating music for the love of it.

Hollywood Heartache might just look back at Eager Hearts and cringe at its sentimentality, but I think it perfectly captures a moment in time that even older cynics can remember. It’s not earth-shattering music, but it shows the bare bones of a band that have the talent to evolve into true musical forces.

Eager Hearts is out now. Hollywood Heartache is supporting its release with the following all ages shows.

12 December 2015 – The Lab, Brisbane
19 December 2015 – Wrangler Studios, Melbourne
20 December 2015 – The Bluebee Room, Adelaide
22 December 2015 – The Bald Faced Stagg, Sydney

Image used with permission from AAA Entertainment

Posted on by Lauren Katulka

Cats @ Capitol Theatre, Sydney – 21 November 2015

Years before I saw my first rock concert, I got my first taste of live music at the theatre with Andrew Lloyd Webber’s smash hit musical Cats. Decades later I was thrilled to experience it all again.
Although I must admit I had my reservations. Or my reservation: Delta Goodrem. I’m such a fan of the Australian singer, and I think she’s a wonderful singer. But on paper she seemed woefully miscast as the aging, once beautiful cat Grizabella.

I forgot about those misgivings as the orchestra and colorful lights filled the theatre. As the cats leapt about the stage in the opening number, I was taken back to my youth. However, sadly my wonder with the musical didn’t last too long.

We all have a favourite cat, and for me it’s Rum Tum Tugger. However, where in the 80s he was a super cool rockstar of a cat, in the new production he’s a braided rapping thug wearing gold chains and bad pants. Rather than oozing the charisma I associated with the character, he seemed like he was trying hard to impress. I guess the creators of the new production tried to update things for a modern audience, but they missed the mark completely for me and my family.

While I’m griping, I didn’t feel there was the same attention to detail as there was in the earlier production. Back then, I felt the characters really were catlike in their movements and expressions. However, in the new production it was all too easy to remember these actors were simply posing as cats. I’d assume my advanced years were to blame for this perception – everything is more wondrous through the eyes of a child after all – but my mum felt the same way.

Despite my misgivings, Delta was one of the real highlights of our afternoon at Cats. I expected her to sing well, but I didn’t expect her performance to resonate with me on such an emotional level. I was choked up by her performance of “Memory,” and a few members of my family actually shed a few tears. For a person making their theatrical debut to move an audience so well is to be commended.

Gus the Theatre Cat also moved me, and Skimbleshanks the Railway Cat was so much fun. Mr Mistoffelees, another childhood favourite, had even more magic than he did back in the 80s. The special effects really took this part of the show to the next level, and his dancing rose to match it. But again, I really could have done without Rum Tum Tugger rapping over the song towards the end.

Perhaps it’s unfair to compare a modern production with one I saw back in the 80s, when everything about the theatre was so new and wondrous to me. However, those comparisons are unavoidable. I didn’t love this new version of Cats as I did the one I saw all the years ago, but I was moved by it and I left the theatre with a big smile on my face. That got even wider when I heard my seven-year-old niece talk so excitedly about it, her first theatre production. Really, you can’t ask for more than that.

Posted on by Lauren Katulka

“Psalm IV: Den Sista Sorgen” – Lindsay Phillips

Folk’s one of my favourite genres, but I don’t often hear a voice that brings something new to the mix. Lindsay Phillips does that with songs that he dubs Gothic folk on his new album Psalm IV: Den Sista Sorgen.

I could imagine a king’s servant playing this sort of stuff in a medieval court. There’s a real romance about the songs, which make reference to royalty, honour, and sacrifice. The lyrics are truly poetic. Lindsay’s rich deep voice is also something I haven’t heard from a lot of folk singers. The opening song “Two Princes” drew me in immediately. “Mourning of a Golden Age” also really resonated with me. It painted such a vivid picture in my mind when I heard it.

I do love stripped back songs anchored by the strum of an acoustic guitar. However, as the album wore on I found myself wanting to hear a little bit more, some light and shade, some variation. While the lyrics were so well crafted the melodies started to feel a little samey.

Psalm IV: Den Sista Sorgen is a bit of a snowflake in the modern folk scene. I appreciate its uniqueness, and it shows Lindsay Phillips has certainly got talent. But I think I would have loved it more as an EP. As a full-length album, there’s just not enough variety to keep me interested.

Psalm IV: Den Sista Sorgen is available now from Lindsay Phillips’ Bandcamp page.

Image source: Lindsay Phillips Bandcamp page

Posted on by Lauren Katulka

Screaming Jets @ The Entrance Leagues Club, Bateau Bay – 7 November 2015

As a girl growing up in Newcastle, the Screaming Jets are an integral part of my music DNA. An underage show at the Cambridge was one of my earliest concert experiences without my parents, and like so many Novacastrians, I’ll never forget the show after the ticker-tape parade celebrating the Knights’ first grand final victory. I must have seen more than 20 Screaming Jets shows at pubs and clubs in my late teens and early 20s, so I was pretty excited to break the drought with a show at The Entrance Leagues on Saturday night.

Despite living on the Coast for the last decade, I’d never actually been to The Entrance Leagues for a gig. The venue was one of those ones that took me back to the early 90s though. There were no frills about it, and the wind was blowing just the right way from the beer garden to add the smoky ambience ‘90s shows always had. We had to stand, something I haven’t done at a gig in years, but I couldn’t imagine watching a show like this sitting down.

Local band The Radics kicked off the night with a fun set that set the evening’s tone. I heard a lot of ‘90s influences in their music, a little Matchbox Twenty, a little Third Eye Blind, a little Goo Goo Dolls. Their brand of pleasing pop-rock with a little bit of edge went down a treat with me, largely due to the charisma of frontman Blake Wares. An energetic cover of INXS’ “New Sensation” and an epic take on “Another Brick in the Wall (Part 2)” won over the crowd.

After The Radics it was time for Massive to take the stage. These guys seemed like they’d stepped right out of the 80s, with big hair and big, ballsy rock music. It was turned up to 11 from start to finish, and the crowd responded enthusiastically. Personally I thought they were a little too much, but my husband rushed to merch stand to pick up their CD after the set. I will concede that they were the perfect warm-up for the Jets though.

With the audience feeling amped up, the Screaming Jets were always going to have an easy job. This crowd was ready to rock, and this classic Aussie act obliged. Before I get into the nitty gritty, I’d be remiss if I didn’t comment on the poor sound quality on the night. I’d been slightly put off during the support acts, but figured it might right itself when the main act rolled around. A band like the Screaming Jets really needs good sound. There’s a place for fuzz and distortion in the rock and roll world, but take it too far and it becomes painful to hear. It was a good thing I knew all the words to many of these songs, because otherwise I would have had no idea what Dave Gleeson was singing.

The Jets delivered though, despite bearing little resemblance to the band I saw decades ago. Dave Gleeson out front and bassist Paul Woseen were the only ones I remembered. However, the new guns have been schooled in these songs and, sound issues aside, the band rocked just as hard as they did all those years ago. Dave Gleeson is still one of the most exciting performers I’ve ever seen on a stage. While I enjoyed him fronting The Angels, hearing him sing these songs feels right. Age has not wearied any of these guys, and hearing them play songs like “Healing Hand,” “C’mon,” and the always explosive “Better” took me back to my youth.

Things weren’t quite the same as they were in the ‘90s though. Trying to look around people’s smartphones as they snapped photos of the show got old really fast. Back in the day we were far too caught up in the music to do that. Back in the day, I was also proud of typically being the only girl in the centre of a very raucous front row. The crowd were still enthusiastic, but they didn’t go nearly as hard as they did all those years ago. I’ve mellowed with them though. I never would have dreamed of being a few feet back from the stage in the 90s. And when my husband alerted me to the time, during the encore, I never would have agreed that it was getting late and left just before the end. Perhaps if the sound quality was better I would have put up more of a fight, but I was happy to hear some of “Rocking in the Free World” in the foyer while my husband collected his umbrella. I insisted I’d keep my husband company on the way home, but I think I was snoozing before we made it out of the car park.

I certainly don’t have the staying power that I once did, but thankfully the Screaming Jets do. I shouldn’t leave it so long before I catch them again, but I’ll be praying for a better sound tech next time we cross paths.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Brisneyland” – MofoIsDead

I’ve gotten into the habit of listening to a little music and blogging while I work on other projects. It’s usually a good way for me to figure out what floats my boat and what’s getting binned, so I can make sure this blog gets updated without my other deadlined work getting neglected. Usually the music works in the background. I might get drawn out for a moment or two, but rarely does it steal focus from the other things I’m doing.

And then there’s Brisneyland, the new EP from Brisbane’s alternative rock act MofoIsDead. This is the sort of recording that refuses to fade into the background or be ignored. It’s anthemic, epic, and loud. Or at least it should be. Listening to it at a decent volume while I attempted to focus on something else just didn’t feel right.

So I gave up trying to do anything else and just listened to the music. I love the way this band plays with light and shade. They can turn it up, and they invariably do. But before the chunky guitar riffs kick in on opening track “Plutocracy,” there’s a delicate violin. When we’re not treated to driving drums and blisteringly fast guitar licks there are moments of quiet reflection, space for the songs to breathe. “Mournography” is a beautiful instrumental number, a tribute to vocalist Paul Galagher’s best friend who passed away during the recording of “Brisneyland.” Paul’s vocals deserve a special mention. He’s got one of the strongest rock voices I’ve heard in some time, and it elevates these already strong songs into the stratosphere.

Brisneyland drops on November 20. Look out for it, because it’s an absolute cracker.

Image used with permission from Collision Course

Posted on by Lauren Katulka

Jazz in the Vines @ Tyrell’s Vineyard, Pokolbin – 31 October 2015

With a new concert looming tomorrow, I figured it was about time that I sat down to write about this year’s Jazz in the Vines. After missing last year’s event because my usual Jazz companions (the parents) were gallivanting around the world, I was determined to not miss this year’s. Not even the grey skies and threat of rain could dampen my enthusiasm.

With my parents doing more world travelling, I lost my regular ride. Thankfully Rover’s Coaches were there to oblige. I can’t recommend them enough. We travelled to the vineyards in such comfort that my husband slept the majority of the way.

The Wobbly Boot Jazz Band provided the perfect soundtrack for us to track down my high school friend and acquaint ourselves with the venue. These guys are Jazz stalwarts, always consistent in the old-school jazz they deliver. They’re a reminder of where the festival began, before it started genre hopping.

One thing I noticed as I browsed the stalls was the lack of wine options. I’m not sure if this was new this year or the last, but last time I attended Jazz in the Vines we had major winemakers like Peterson’s Champagne House and Tamburlaine Organic Wines represented. I can’t blame Tyrell’s for wanting the monopoly, given that Jazz is held on its land, but it was a little disappointing to have our options narrowed. I will concede though that the Tyrell’s wine was delicious. I don’t normally drink their stuff, but I sampled the semillon, the bubbles, and a white blend called Part & Parcel and they were all heavenly. The lines also didn’t seem to get as long as I thought they might, although if Jazz was held on a beautiful sunny say I can see that becoming an issue.

As we settled in for the day organisers informed us that sadly next year’s would be the last ever Jazz in the Vines. It promises to go out with a bang, but I really wish it didn’t have to go out at all. It’s the only festival I bother with these days. There’s always something wonderful on the bill, and the relaxed atmosphere just can’t be beat. I’m really going to miss it.

So there was a tinge of sadness as we settled in to watch the Royal Australian Navy Band. These guys are always so tight, performing a set mostly made up of standards with military precision. Unexpected covers of “Supercalifragilisticexpialidocious” and “I Want to Be Like You” from The Jungle Book added real colour to their performance.

Bruce Mathiske is such an accomplished guitarist that it’s impossible not to be impressed by what he does. When he brought George Golla on to the stage with him, we knew we were in the presence of greatness. However, three acts in I was kind of waiting for a break from the mellow. Or perhaps the rain that had started to come down was souring my mood. Either way, things were lovely but I was waiting for them to kick up a notch.

It seems I was waiting for Steve Clisby. Funnily enough, I was one of the only Aussies who wasn’t besotted with him on The Voice. I thought he played a little too safe, and I could see some limitations to his vocals. But when I saw him live, I wasn’t worried about any of that stuff. There’s this easy way about his performance style that wins a crowd over from the get go. Perhaps it also helped that here he was singing the songs he wanted to sing, rather than those given to him by the network. Although he did acknowledge his Voice past with his now famous cover of “Walking in Memphis.” I didn’t expect to enjoy Steve Clisby as much as I did, but after some fairly sleepy acts I was really impressed.

It wouldn’t feel like Jazz in the Vines without James Morrison, and once again he didn’t disappoint us. This time around he seemed to take a back seat though, giving his young singers an opportunity to shine. There weren’t the big trumpet solos I was used to. He even spent a little time on keys. Rather than attempting to be the star, he sang the praises of his vocalists. I was thrilled to see former Australian Idol contestant Roxane LeBrasse back with him, as she was a few years ago. The Voice alum Glenn Cunningham was there too, proving he’s well and truly moved on from being Delta Goodrem’s back-up singer. He was so much stronger than I remember him on the show, whether because he’s got more experience as a frontman under his belt or he’s now singing songs that he believes in a little more. I hadn’t heard of Evelyn Duprai but she was also phenomenal. I’ve seen James Morrison in the spotlight, so I really enjoyed watching him as part of one of the best soul ensembles I’ve seen.

Ross Wilson was the act I really wanted to see, and he put on the performance of the day. He drew from his entire back catalogue, helping the crowd forget about that relentless rain with classics like “Come Said the Boy,” “Come Back Again,” and my personal favourite “Cool World.” He has such charisma to match those amazing songs. By the time he brought out “Eagle Rock,” the whole crowd was singing along enthusiastically.

Honestly, it’s a shame that Ross Wilson didn’t end the show. We heard some time earlier that Angry Anderson, who was scheduled to front closing act John Morrison’s Heavy Metal Jazz Orchestra, had come off his bike and wouldn’t make it to the show. Sadly without Angry, this act seemed really just like your average jazz band. That’s fine at the start of the day, but a little lacklustre at the end when we’re all ready to party. I really hoped there’d be some edge, some jazzy covers of heavy metal hits perhaps, but I was bored. If I were the organisers, I would have rejigged the bill so this technically fantastic but ultimately uninspiring act wasn’t our final taste of Jazz in the Vines 2015.

As we packed up and headed for the gates I was stopped with my mostly full bottle of wine and told to surrender it. Given how frustrated I was, I figured I’d sound off about that here too. In hindsight I probably should have hidden it away in my bag and tried to sneak through, but I hadn’t really thought it would be an issue. I think this sort of policy simply encourages people to down the bottles of wine they have to ensure their money isn’t wasted. I was getting on a bus, but I could have just as easily been getting behind the wheel. Surely it’s more responsible to let people take their wine with them to consume it later, rather than guzzling it at the gate. I know rules are rules, but I’m not sure this policy is the best thought out.

This year’s Jazz in the Vines wasn’t perfect, but even a less than perfect day at Jazz is better than a day at most festivals. I’ll be back in 2016 with bells on, keen to help this beloved Hunter event go out with a bang.

Posted on by Lauren Katulka

“Home Movies” – Kevin Dolan

After hearing Kevin Dolan’s song “Modern Times” a week ago, I couldn’t wait to listen to EP it was lifted from, Home Movies. I’ve played it twice this morning, and it’s proven to be just the music I needed to hear to wind down on a Friday.

Actually, it’s just the sort of music I like to hear at any time. This six-track collection has everything I loved about the single but that bit more. You can enjoy a song on its own for what it is, but when you hear an EP like this you start feeling like you’re getting to know the artist.

As you might expect from an EP penned by an Irishman living in Australia, themes of displacement and longing run through Home Movies. Beautiful songs like “Gone” and the EP’s closer “The Station,” in which Kevin sings with only his acoustic guitar as support, really resonated with me. But there’s a much cheekier side to his music too which he showcases on the Gaelic blues track “Fairytale Blues #3.” I’m not quite sure how the musical influences of this song marry so well, but he manages to pull it off.

Home Movies is real, raw, and beautiful. Kevin Dolan’s husky voice isn’t perfect, but his flaws make this recording feel that much more honest and compelling. He’s a storyteller, the kind of artist we don’t hear enough of these days. Home Movies is a wonderful introduction to his music.

Home Movies is available on November 1. Kevin Dolan will support it with a show at Melbourne’s Bar Open on November 15.

Posted on by Lauren Katulka

“Preparing for Flight” – Dan Flynn and the State of Things

Melbourne singer-songwriter Dan Flynn has shed the Major Chord moniker behind and joined new outfit, the State of Things. They’ve just released a new album called Preparing for Flight.

From the opening number “Heavy Lies the Crown,” where he sings “Come walk with me,” Dan Flynn invites listeners into his world, and I followed gladly. I felt hypnotised by his rich soothing voice and the gentle acoustic guitars that anchored each song. I loved the organic arrangements, and fell for the way his voice harmonises with Meabh Friel. The gentle, folky sounds of this album were just what I needed to hear on this lazy Sunday.

But then I realised there was a little more going on that I’d first thought. While listening to sweet songs where Dan compares someone’s love to a “Blanket in the Snow” and creates beautiful mental images of “Sunny Autumn Weather,” it’s easy to miss the darker underbelly of much of Dan’s music. It’s not long before the sunny autumn weather turns stormy. “Apocalyptic Love Song” might sound as sweet and tender as any romantic ditty, but the end of days setting makes it very different from any other love song. “The State of Things” takes us out of our immediate frustrations to explore some of today’s most pressing social and environmental issues.

Preparing for Flight might sound on the surface like so much mellow folk music, but delve a little deeper and you’ll find songs which aren’t afraid to explore the shadows. It gets richer with each and every listen.

Preparing for Flight is available now from most digital outlets. If you’d prefer a physical copy, you can order yours through Dan Flynn’s Bandcamp page.

Image used with permission from Dan Flynn