Category: Reviews

Posted on by Lauren Katulka

Mark Seymour @ Lizotte’s Kincumber, 18 April 2015

This review is well overdue. I’ve been hit with my fair share of illness over the last few weeks, so getting myself to a computer, let alone forming coherent thoughts about gigs past, was an ask. However, I’m drugged up enough on a chemical cocktail to keep the symptoms of my middle ear infection at bay so it’s time to put fingers to keyboard.

I really wish I wasn’t sick on April 18. I was so psyched for my final gig at Lizotte’s Kincumber, but with a nasty cold taking over my body getting myself there was a slog. Thank god for kind trivia buddies who assumed the driving duties.

It might have been the illness that left me a little underwhelmed by support act Glenn Watson. He was a cutie and he had a guitar, which were two ticks against his name, but something about his music just didn’t rev me. There was the occasional track that I enjoyed, but his set didn’t quite get out of second gear for me, or for the crowd who kept their conversations buzzing throughout his performance. Perhaps if he played more of the covers he promised (at the end we just heard a little of Coldplay’s “Fix You” during one of his originals) maybe he would have brought us back.

I was a bit worried that even Mark Seymour couldn’t rouse me out of my illness funk, but I needn’t have been concerned. That man has such gravitas. He really was the perfect artist to see for my last show at the Cubby House. He played acoustic with a buddy whose name escapes me, which is a shame because their harmonies were sublime. The set was punctuated with Hunters & Collectors classics, but there were plenty of solo songs that I was less familiar with. Lizotte’s is the sort of place to hear that type of music. It’s a small venue, a quiet venue, the kind of place that draws you in and encourages you to listen to the lyrics. God they were good. I appreciated that just as much as singing along to the biggies like “Throw Your Arms Around Me” and “Holy Grail.”

I really wish I could have been in better spirits for my last Lizotte’s show. I am going to miss that venue like no other. Thank god Lizotte’s Newcastle is a relatively short drive down the freeway, because New South Wales needs places like this where you can really hear artists and enjoy some of the best food and wine around. Lizotte’s Kincumber might be gone, but Coasties must remember that Lizotte’s in Newcastle lives on.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Bossa Nova Baby” – Juliana Areias

I love hearing all kinds of music, so when Perth-based Brazilian jazz singer Juliana Areias sent me her first original album, Bossa Nova Baby, I was thrilled to dive right in.

It’s interesting listening to an album that’s almost exclusively in Portuguese, the universal language of bossa nova. I’m ordinarily a person that clings on to lyrics. Without that, I had to stop and think about how the music made me feel.

That evolved for me the more I listened to Bossa Nova Baby. I found myself enjoying the songs, which made me shake my hips and tap my toes. However, there was a little voice in my head saying “Gee it’s a little loungey.”

It’s a criticism we’ve heard countless times on those musical reality shows. Artists are told that they don’t want to sound like a lounge act, and we all accept this as being universally true. But the more I found myself enjoying these songs, I wondered whether loungey really is all that bad.

Juliana transported me to a lounge in an exotic holiday destination. As I listened to her songs I imagined myself sipping a cocktail, watching her and a brass band play as all of my troubles melted away. Upbeat tracks like “Missão” and “Maré Cheia” make me want to salsa around my lounge room. However, with tracks like “Inocência,” Juliana wears her heart on her sleeve. I wasn’t sure quite what she was singing about, but the sadness the song conveyed came through despite the language barrier. I also loved the vibe of the only English-language song “Night in Takapuna.” Its flute is such a beautiful accompaniment for Juliana’s pure voice.

Bossa Nova Baby might be a little loungey, but I’d be happy to visit any lounge where Juliana Areias played.

Image source: Juliana Areias Soundcloud page

Posted on by Lauren Katulka

The Eagles @ Qantas Credit Union Arena, Sydney – 2 March 2015

As The Eagles get ready to kick off their New Zealand shows, I figured it was high time that I found a moment to look back at their Sydney gig last Monday. Before I started to write I thought I should look back on the review I wrote of their 2010 gig. I remarked on some of the same things I found myself marvelling at four years later: the effortless harmonies, the timeless quality of the songs, and the way that age has not wearied these talented musicians.

You might expect that without a new studio album release since 2007, the show would be pretty much the same as it was years ago. However, the History of the Eagles moniker gave it a new complexion which I really loved. I’ve always believed that the real beauty of a live show is the opportunity to learn more about the songs and to hear the stories of the artist. If I just wanted to hear the songs, I’d stay home and listen to a CD. While some hecklers didn’t seem to warm to The Eagles’ ruminations, I lapped up every minute of the coolest history lesson of my life. The show started out with just Glenn Frey and Don Henley, the way the band began, playing “Saturday Night” on acoustic guitars. This was just one of the lesser known tracks that made sense in this concert format.

Before long Glenn and Don were joined by founding member Bernie Leadon (who wasn’t present last tour), Timothy B. Schmidt, and Joe Walsh. The simple acoustic numbers gradually gave way to stirring electric full band performances, and songs from the vault gave way to radio staples. I was raised on The Eagles, so I knew most of the songs and was thrilled to hear the ones I never expected. “Doolin’-Dalton” and the reprise of “Desperado” were great surprises, although that’s to take nothing away from the songs I’d suspected would make the list. The Eagles have so many songs that you can never take anything for granted after all. “Already Gone” had me punching my fists in the air, Timothy B. Schmidt’s vocals in “I Can’t Tell You Why” blew me away all over again, and “Life in the Fast Lane” really rocked.

I did miss the solo Henley and Frey songs we were treated to last time, but when a band of 60-year-olds play until 11:30 it’s hard to be too critical. The decision to keep Joe Walsh’s solo shining moment, “Rocky Mountain Way,” in the second encore was enough to make amends. I couldn’t help but rise to my feet in appreciation when they closed with “Desperado.”

I loved the Eagles last time, but in sharing their history the Eagles created a show that was even more appealing this time around. I have no idea how long guys in their mid-60s can keep on doing this, but I’ll keep on fronting up so long as they do!

Image source: Wikimedia

Posted on by Lauren Katulka

“Through the Forest” – Benny Walker

I was captivated by Benny Walker when I heard his single “The Fool” a few weeks ago. Now that I’ve had the chance to listen to his latest album Through the Forest in its entirety I’m completely enamoured.

The title track is such a stunning introduction to this album. It feels epic and important, forcing you to sit up and pay attention. The following track, “Time,” sees the album settling into a gentler groove yet Benny somehow does that without losing intensity. It feels so seasoned, remarkably so for just his second album. Every song is exquisite and expertly crafted, so it’s so hard to pick favourites. But I loved the soulful sexiness of “Don’t Cut Me Down,” with its brassy instrumentation and Benny’s effortless falsetto. “No Refunds,” a song of longing for a love gone wrong, nearly brought me to tears.

They just don’t make music like this anymore. Through the Forest reminded me of a great album from an artist the calibre of Bruce Springsteen, The Eagles, or Tom Petty. It has such a cool blend of rock, country, blues, and folk. My only complaint is that at just nine songs, it felt over far too soon.

Through the Forest is released on March 6 through Black Murphy Records. Remember that Benny’s supporting the album with the following shows.

7 March 2015 – Moama Bowling Club, Moama
13 March 2015 – Twilight at Taronga Zoo, Sydney (supporting Dan Sultan)
27 March 2015 – Darwin Railway Club, Darwin
28 March 2015 – The Arnhem Club, Nhulunbuy
9 April 2015 – Skukum Lounge @ The Junk Bar, Brisbane
10 April 2015 – Thornbury Theatre, Melbourne
12 April 2015 – Newtown Social Club, Sydney
18 April 2015 – Suttons House of Music, Ballarat
19 April 2015 – The Wheatsheaf Hotel, Adelaide
24-26 April 2015 – Mount Beauty Music Festival, Mount Beauty
1 May 2015 – Beaches Hotel, Thirroul
3 May 2015 – Rhythm Hut, Gosford
6 May 2015 – Mothers Milk, Sawtell
10 May 2015 – Redcliffe On the Murray, Pinjarra

Image used with permission from Chrissie Vincent Publicity

Posted on by Lauren Katulka

“Gareth Jay” – Gareth Jay

It’s been a little while since I’ve heard any really great new blues music. You know the stuff, the music that feeds you soul and bubbles over with passion and heart. So I was really excited to stumble across the self-titled EP from Sydney’s Gareth Jay.

The opening track “Fiend” had me from its intro with its acoustic guitar and rich harmonica. Once his husky voice entered the mix I was sold. This song just oozes sex.

The follow-up number, “Crave,” kept me enamoured. If the lost love this song was written about didn’t go back to Gareth after hearing it she’s crazy. I think I’d forgive almost anything if anyone was inspired to write a song like this for me.

The heartbreak continues with “It’s Not Me, It’s You.” It covers familiar ground but Gareth is so talented that it feels fresh.

“Why Don’t You Just” feels like it’s come out of America’s Deep South rather than the streets of Sydney. It’s swampy and raw and oh so good.
The closing track “Tempt Me” has a real organic, spontaneous energy. It feels like the sort of thing you might expect Gareth to improvise on stage with his bandmates, unpolished and honest.

After listening to all five tracks I had to play them again. And then again. What a wonderful introduction to this talented musician. I expect massive things when Gareth Jay releases his first full-length album this May.

Posted on by Lauren Katulka

Uncle Jed @ Lizotte’s, Kincumber – 15 February 2015

As I sat in Lizotte’s Kincumber on Sunday night, I couldn’t help but do it with a twinge of sadness. It was the second-last show I had booked before the venue’s closing. I thought about that as I ordered the tempura prawns and herby battered fish and chips, two of my favourite items from Lizotte’s ever-changing menu. I poured over the wine list and figured it was time to try the Lizotte’s label sav blanc, knowing that I’d soon to have to drive to Newcastle for a glass. I thought about it as I watched the bands play intimate music so close to me, so easy to hear in this crowd of music lovers. The Central Coast is very lucky to have this venue which always makes a concert just that little bit better.

After all, I have only a vague recollection of Michael Duchesne’s time on The Voice, yet as he graced the Lizotte’s stage I was captivated from the first note. I think a venue like Lizotte’s encourages you to listen to lyrics and subtle nuances. Small songs work well here as opposed to network TV, and that’s where Michael excels. I could have listened to his voice all night, its warm richness and its raspy breaks. His originals were so impressive and his covers of songs by Bread and the Doobie Brothers were inspired. Needless to say, I left with his EP.

I was there to see another TV show success, Uncle Jed. I’ve actually never watched a full episode of Australia’s Got Talent, but they captivated me on the ads so I’d religiously get on YouTube and see what they were doing. They were one of those bands that I always meant to see, but hearing they were wrapping up Uncle Jed to launch another musical project gave me the impetus I needed. Again, Uncle Jed is a band that really deserves a space like Lizotte’s. Their songs are intimate and personal. They draw you in with lyrics that perfectly match their sublime harmonies. I knew I’d enjoy the songs they did on AGT like “Brother” and “Give Me Love,” but covers I hadn’t heard like “Latch” and “Everybody Here Wants You” were revelations. New songs from their next band Luna Grand ensure that this isn’t the last we’ll see of this talented act.

I wondered as I left where bands like this will play on the Coast when Lizotte’s Kincumber closes its doors. It’d be a shame to put them into pubs with inattentive patrons and poker machines. Perhaps bands will just start bypassing my local area and only playing Newcastle and Sydney. Whatever happens, I’m just glad I could see artists of this calibre playing at Lizotte’s Kincumber one last time.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Anthony Callea @ Taronga Zoo, Sydney – 14 February 2015

I’ve always thought Anthony Callea was talented, but it took him covering the music of George Michael to turn me from casual admirer to a concert goer. The scheduling of his Twilight at Taronga concert on Valentine’s Day also didn’t hurt. The zoo’s one of my favourite places in the whole world, so the idea of spending the most romantic day of the year there, capped off by a concert was irresistible.

Sadly the weather gods didn’t realise just what a perfect evening it was supposed to be. My husband and I were soggy in ponchos, umbrellas overhead as we waited on the zoo’s concert lawns. Support act Caterina Torres provided a pleasant enough distraction from the gloomy weather. She’s got a lovely voice, but this Voice graduate never really wowed me. Her originals showed some real promise, and I appreciated her decision to play with only the accompaniment of a bandmate on acoustic guitar. However, her predictable covers of top 40 hits were a bit bland. I suppose you’ve got to appeal to the masses at this sort of show, but it all never got to the next gear for me.

It was almost as if the weather gods understood that Anthony Callea was the main event and that we should be focusing on him rather than the rain when he took the stage. We were treated with clear skies for his set chockfull of George Michael hits. I had a ball when I went and saw George a few years back, and I wondered whether Anthony could do the songs justice. I knew he had the voice for them, but I had a question mark over the charisma. However, he charmed the pants off me. His connection to these songs is evident, so you feel them just as deeply as you did when George sang them originally.

I felt a serious bout of déjà vu swooning over yet another gay man singing sexy songs like “Father Figure” and “Fastlove.” His version of “Kissing a Fool” could have stood to have been slowed down a little to capture the jazzy lounge feel of the original, but with just an hour and a quarter on the clock I guess sacrifices need to be made. Backing vocalist Susie Ahern was more than capable of taking over Mary J. Blige’s vocals for “As,” but again I was a little less enthusiastic about Caterina’s role in “I Knew You Were Waiting For Me.” Aretha Franklin’s soul shoes are big, but this version wasn’t a patch on the one Anthony laid down with Casey Donovan on the album.

Given the time restraints on a zoo concert, I wasn’t sure that we’d get an encore. But what an encore. The moment I heard the first strains of Wham!’s “I’m Your Man” I knew I couldn’t just settle for the chair dancing I’d been doing all night. I left my bag and husband behind and sprang down the front, joining the throng of people soaking up one last song. To experience one of my favourite George Michael songs so unexpectedly as it didn’t make Anthony’s recent album was such a fitting way to end one of the most fun, fabulous concert experiences I’ve had in some time.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Black Cat” – Deena

Brisbane-based chanteuse Deena shows her versatility in her sophomore album Black Cat. This release builds on the acoustic-folk sound that she showcased on her debut album Lone Wolf, with a full band helping her create something much bigger, grittier, darker, and bluesier.

The opening song “Cupid” is a steamy number that starts sultry before erupting with a cacophony of guitars. There’s a lot of that pattern in this album. I think I’m hearing something small and intimate, but somewhere along the way Deena takes a left turn and really lets loose. It’s as if her emotions can only be contained for so long before brimming and bubbling over. There so much good stuff on here, but Deena floored me with “Curve.” That song may have some of the most heartbreaking lyrics that I’ve ever heard.

If I had any criticism of the album, it’s that I could have done without the final track, a remix of “Uncut Diamonds II.” This electronic makeover doesn’t do the song any favours, and doesn’t seem to gel with the rest of the album. I suppose it shows another side of Deena, but it feels like a wasted exercise considering how good the other version is. That said, you’ve got to admire an artist that takes risks as Deena does, especially when so many of them pay off as they do on this album.

Black Cat hits stores on 13 February. Deena will promote its release with the following shows.

8 February 2015 – The Newsagency, Sydney
11 February 2015 – Cambridge Hotel, Newcastle (FREE)
12 February 2015 – The Publishers Hotel, Adelaide
13 February 2015 – The Vinyl, Adelaide
15 February 2015 – The Workers Club, Melbourne
18 February 2015 – Brisasia Festival, Brisbane
20 February 2015 – Queen St Mall, Brisbane (FREE)
8 March 2015 – Kettle & Tin, Paddington, Brisbane
15 March 2015 – The Brewery, Byron Bay
20 March 2015 – Black Bear Lodge, Brisbane

Posted on by Lauren Katulka

“Where Did You Come From?” – Darren Hanlon

Some albums grab you from the first notes, shaking you out of your world and demanding to be heard. You know it’s something special and you’re captivated from start to finish. Others sneak up on you, getting underneath your skin gradually until you realise that this album is far better than you ever imagined. Where Did You Come From?, the fifth studio album from Darren Hanlon, is that kind of album.

I initially thought it was just a sweet blend of country and folk. It was pleasant enough to listen to, but also likely to get buried amongst my massive pile of music before too long. And then I heard “Letter from an Australian Mining Town.” The fifth track, a tender slice of Australiana with all of the romance of the bush. Even if you haven’t been there you understand it. And that was when I thought “I get this. This is amazing. I need to go back to the other tracks and pay more attention.”

With my ears wide open I realised that while Darren’s music is fairly small, it shouldn’t be overlooked. Perhaps no song emphasises this point more than “My Love is an Ocean Away.” With only an acoustic guitar, Darren’s voice, and some quirky but poetic lyrics, it draws you in and proves how powerful something delicate can be. As someone who lived through a long-distance relationship, it struck a real chord.

So did “Halley’s Comet, 1986.” As he told the story I recalled my own experiences as a six-year-old, not really sure why we were all looking up at the stars and what we were waiting for, but doing it anyway.

Then there’s “Manhole Cover Tap,” which proves that anything can be a musical instrument. I’m not 100 percent sure whether real manholes were involved in the recording of this track, but I love its organic, back to basics feel. And I’m sure that Johnny Cash would have been proud to pen the rollicking country-rock of “The Chattanooga Shoot Shoot.”

Darren’s spent a lot of time in the United States, but he certainly hasn’t forgotten where he came from. Australian stories are at the heart of every one of these songs, and he sings them in a real Australian voice rather than that generic accent-free one so many performers use. It’s so refreshing to hear. As the first few tracks washed over me I didn’t expect to become so invested in Where Did You Come From? But I’ve found myself going back to it and giving it another spin for a couple of weeks now. It creeps up on you, and when it does it’s so rewarding.

Where Did You Come From? hits stores on March 2. Darren will celebrate the release of Where Did You Come From? with the following shows.

27 February – 1 March 2015 – Nannup Festival, Nannup
2 March 2015 – Mojos Bar, Fremantle
5 March 2015 – Republic Bar, Hobart
6-8 March 2015 – Panama Festival, Panama Forest
12 March 2015 – Railway Club, Darwin
20-22 March 2015 – Yackandandah Folk Festival, Yackandandah
24 March 2015 – Clarendon Guest House, Katoomba
25 March 2015 – Gallipoli Legions Club, Newcastle
26 March 2015 – Manning Bar, Sydney
27 March 2015 – Street Theatre, Canberra
28 March 2015 – Candelo Festival, Candelo
2 April 2015 – Jive Bar, Adelaide
3 April 2015 – Karova Lounge, Ballarat
9 April 2015 – The Spotted Cow, Toowoomba
10 April 2015 – The Zoo, Brisbane
11 April 2015 – Majestic Theatre, Pomona
17 April 2015 – The Corner Hotel, Melbourne

Image used with permission from Mucho Bravado

Posted on by Lauren Katulka

“Songs of Woe” – Kegan DeBoheme

Before writing this review I took a look at those I’d penned in 2011 and 2012 about the music from Kegan DeBoheme’s band The Gypsy Bangles. I remembered them as a bit of a rock and roll throwback, a remnant from music’s heyday. There are certainly elements of that in Kegan’s solo effort Songs of Woe, but this is more than just same old thing.

It’s interesting that The Gypsy Bangles recordings I listened to had just four tracks each. They gave a mere glimpse at an act. I wonder whether in Songs of Woe Kegan had more space to spread out creatively, or whether he’d have always done that if The Gypsy Bangles recordings were longer. At any rate, with 12 tracks to play with Songs of Woe is an album of more diversity. It’s also one that feels a lot more intimate. Kegan’s roughened voice is strong through this album, ably supported by the music rather than fighting through it as he sometimes did with the Gypsy Bangles. The instrumentation is just that bit simpler, and that draws you in.

Kegan’s love of classic rock still shines through, whether it’s on his covers of Jim Croce’s “Operator” and Rodriguez’s “Sugarman” (which is incidentally far better than the dancey version floating around the charts) or original songs that capture the period like “Flowers (For a Brother)” or “Where Has the Summer Gone?” Yet there other forces at play here. “Gone Tomorrow” and “Rose Painted Gold” feel as if they could sit comfortably on a grungy record from the 90s. Despite beginning a lot like a Steely Dan track, “The Setting Sun” sounds like what Dion might have done if he’d gone on to play with Alice in Chains. I really enjoyed the laidback acoustic jam of “Inner City Blues.”

Kegan DeBoheme might be without his Gypsy Bangles bandmates with his solo album, but the music has enough similarities to those earlier recordings to satisfy long-time fans. However, Songs of Woe isn’t just about doing the same old thing. It’s a bit rougher, rawer, and dare I say it, more honest. It’s far from the perfect record. Certain sections feel a bit derivative, and others are a slog. I’m still not sure whether we’re hearing Kegan or simply Kegan’s influences in his music, but I’m enjoying listening to the journey.

Songs of Woe is available now through Kegan DeBoheme’s Bandcamp page.