Category: Reviews

Posted on by Lauren Katulka

Tony Hadley @ State Theatre, Sydney – 1 November 2013

Tony Hadley seems to have developed a liking for Australia. He’s visited our shores four times in the last five years, which isn’t bad for someone who hasn’t had a hit for decades. The Spandau Ballet frontman peddles nostalgia, and he does it so well that I haven’t missed one of those recent tours.

I also continue to see Tony because he never rests on his laurels. Sure, he mostly sings the same songs, but it’s always packaged up just slightly differently. There was the tour with Paul Young, with his Spandau Ballet bandmates, with Go West, and now with a symphony. This was the most intriguing for me. I was curious to hear how Spandau’s legendary synth and guitar-driven sound would work with strings and wind instruments.

The result was honestly mixed. If it was simply Tony and the Sydney Symphonia musicians, I think the sound might have been more coherent. However, with those trademark electric guitars and keys still present, sometimes the sound got confused. Sometimes it seemed like the musicians were competing against one another, but in other places the marriage was perfect. It was certainly an interesting experiment, but not one that always worked.

The show was cleverly split up into two halves. The first saw Tony playing a few tracks from his soon to be released solo album as well as the songs that have influenced his career. This was really interesting for a music buff like me. I never imagined I’d get to hear him sing The Eagles’ “New York Minute,” “David Bowie’s “Life on Mars,” or “Jimmy Buffet’s “Time in a Bottle.” The latter was particularly touching, with stripped back instrumentation letting those beautiful lyrics come to the fore.

After intermission it was time for the Spandau Ballet hits that brought us there. These certainly took on a new dimension with the orchestral arrangements. I even found myself enjoying some songs, like “Muscle Bound,” which hadn’t struck a chord with me before. “Through the Barricades” was suitably epic, and the favourites “True” and “Gold” had everyone in the stalls dancing. What a shame the State Theatre’s “no dancing in the dress circle” policy prevented me from joining them!

No matter what he’s singing, Tony is the consummate professional. He’s trimmed down since his last visit to Oz, and I think it’s given him even more energy. His voice also only seems to get stronger as the years march on. He had the audience in the palm of his hand from the first song, and kept them there. He just doesn’t disappoint. That’s why I’m wondering when his next visit to our part of the world will be!

Image source: Stephen Katulka

Posted on by Lauren Katulka

Jazz in the Vines @ Tyrell’s Winery, Pokolbin – 26 October 2013

After spending so many weekends consumed by moving house and the associated fall-out, it was blissful to head to the Hunter Valley on Saturday for the annual Jazz in the Vines show. It doesn’t really matter who’s on the bill; this is one yearly event I make sure that I never miss. And once again, this stellar regional show didn’t disappoint.

Pokolbin was bathed in the eerie haze of bushfires, but thankfully you couldn’t really smell smoke on the Jazz in the Vines site. In fact, I think we enjoyed the best weather we have had in years. Far too often Mother Nature turns on a scorcher, but this year it was a pleasant 27 degrees with a gentle breeze which made even the dancers down the front feel comfortable.

I wish I could show you pictures of all the fun we had, but sadly my camera decided to give up the ghost the moment I tried to take a snap. Instead you’ll just have to take my word for it. The Admirals Own Big Band and Bob Barnard satisfied the taste of traditional jazz enthusiasts with old standards and instrumental gems. These mellow offerings gave us all a chance to chill out a little with the superb food on offer. What other festival do you know treats you to dishes like rock oysters and soft shell crab sliders? Talk about decadence!

With bellies full it was time for Jan Preston to bust out a little boogie woogie. It was just what the crowds ordered, and they were on their feet quickly. The makeshift grassy dance floor near the dual stages became even more crowded once modern funksters The Bamboos appeared. This soulful young outfit brought a youthful energy to a festival often dominated by more established acts. They did it without alienating the older audience members, which takes some skill. My parents, at 60 and 58, marvelled at Kylie Auldist’s pipes and the outfit’s tight brassy sound.

Then it was time for some of those more established acts I’ve alluded to. Festival favourite James Morrison showed why the organisers keep asking him back. I’ve seen him play so many times at the festival, but fatigue never seems to set in. Perhaps that’s due to his decision to work with various guest vocalists. This time around we were treated to the vocal stylings of Roxane LeBrasse, who I’d assumed had fallen off the face of the earth following Australian Idol. I loved her on the reality show, but was wowed by her vocals on Saturday. She’s matured and developed an incredible stage presence. Hearing her take on soul classics like “Chain of Fools,” and come out sounding every bit as good as Aretha Franklin, was something special.

James Morrison had us dancing, and Marcia Hines knew no one was quite ready to stop. There’s a reason why Miss Marcia continues to be such a musical force. Her voice has lost nothing over the years, and she’s a consummate professional on stage. She had me captivated from start to finish.

I wish I could say the same for the closing act, Canadian band The Shuffle Demons. My dad told me early in the first song that it would have to get better for us to stick around. It didn’t, so we hightailed it out of there two songs in. They might have looked like a party act with their silly headpieces and brass instruments, but they didn’t sound like one. There were no hooks or melodies, nothing for me to connect with at all. I just didn’t get it. Looking at the punters also packing up their stuff as we made for the exit, it seems I’m not alone.

After a day of great music, even the aural assault of The Shuffle Demons couldn’t dampen my enthusiasm for Jazz in the Vines. The day wasn’t perfect, but it was close enough to it to ensure I’ll be back again next year.

Posted on by Lauren Katulka

“Dames” – Molly Contogeorge

Sydney songstress Molly Contogeorge serves up another slice of girl power with her aptly titled new EP Dames.

You always hope an EP will open with a bang; this one opens with two. The first track “Bang Bang” drips sass. The horns give it a delightfully retro vibe that transports the listener to a retro speakeasy.

The next track “Bad Boy” is another girl power anthem that calls out all those men we find so alluring. Molly’s trademark piano anchors the upbeat number beautifully.

Molly shows us her softer, more vulnerable side with the stunning “Brother”. It’s jazzy, but it’s got a heartbreaking rawness to it that so many numbers of the genre lack. We’re not held at a distance here. Molly invites us in.

The title and final track “Dames” is a great bookend for this EP, as it takes us back to the big brassy sound and vintage feel of “Bang Bang”. After feeling emotionally sapped by “Brother”, I was looked for something to put a smile back on my face. “Dames” delivered in spades.

I had high hopes for this EP after enjoying Molly’s previous effort Glasshouse Living. This local dame definitely didn’t disappoint.

Image used with permission from Molly Contogeorge

Posted on by Lauren Katulka

“Roadtrip Confessions” – Buffalo Tales

I must admit, when I heard Wes Carr was performing under the name of Buffalo Tales, I thought it was as wanky as the next person. However, as I listened to his first album under this new moniker, the shift made perfect sense.

Roadtrip Confessions isn’t a Wes Carr album. While I enjoyed the pop-rock material Wes released after winning the Australian Idol title, it’s markedly different from the music he’s making today. There’s a lot more heart and subtlety here. It’s not so radio-friendly, but that doesn’t mean it’s not accessible. It’s just not obvious or formulaic.

This album is beautifully balanced. One moment we’re thigh-slapping along to “Amsterdam”, the next we’re taken to a more tender, poignant place when he duets with Scottish folk songbird Rachel Sermanni on “Crazy Heart”. The shifts could have been jarring, but the gentle strumming of an acoustic guitar serves as an anchor for these beautiful songs.

It’s hard to single out songs on an album of such quality, but the introspective “Puppet Strings” and romantic “Tricks to Magik” are real highlights. The poetic, gorgeous lyrics of these numbers deserve to be listened to.

It’s interesting that Buffalo Tales’ has chosen to cover Leonard Cohen’s “Take This Waltz” and Rihanna’s “Diamonds”. They’re two very different songs, but they’re both interpreted so cleverly. It’s a good reminder that singing covers, as artists do on programs like The X Factor, The Voice, and Buffalo Tales’ big break Australian Idol, isn’t such a bad thing. Perhaps he hasn’t moved so far from his alter ego after all.

It’s unfortunate that the release of Roadtrip Confessions has been overshadowed by the media natterings about Wes Carr’s new name, because this album is one of the best I’ve heard in recent years.

Image used with permission from the Planetary Group

Posted on by Lauren Katulka

Idina Menzel @ Opera House, Sydney – 26 June 2013

I feel like I’ve barely had time to breathe this week. There are worse things that being social, but as I age travelling up the highway and back again more than once in a week really takes its toll. Still, when you’re seeing wonderful things it’s worth all the effort. And Idina Menzel’s concert at the Opera House on Wednesday night was certainly a wonderful thing.

I became enamoured with Idina when I discovered Rent in the late ’90s. Wicked came later, and then Glee, with their roles that showcased Idina’s charisma and incredible vocal prowess. So when I heard she was visiting Australia this month, I jumped at the chance to be in the audience. My expectations were high, but she didn’t disappoint.

In fact, this was one of those shows that was even better than I’d hoped for. What a personality Idina has. She was genuinely humble and so incredible open. She was free with stories of her professional and personal life, even when those memories were painful like the loss of composer and mentor Marvin Hamlisch and Rent creator Jonathan Larson.

The music took the night to another level though. It was eclectic mix touching on jazz standards, musical theatre numbers, and even pop songs. It’s rare to find a set with songs from Lady Gaga, Cole Porter, Joni Mitchell, and Peter Gabriel, but I relished it. It all worked so well. Her tender rendition of “Both Sides Now” was spellbinding, her take on Barbra Streisand’s “Don’t Rain on My Parade” invigorating, her performance of Wicked signature song “Defying Gravity” every bit as impressive without green makeup and levitation.

But personally none of them compared to the joy I felt at witnessing her singing my favourite song from my favourite musical, “Take Me or Leave Me”. As it’s a duet I never expected it to make the set, but I didn’t count on her secret weapon: a ridiculously talented Sydney audience. Normally when singers invite random strangers to the microphone the results are cringeworthy. There’s something special about a musical theatre audience though. All the guest vocalists were stellar. If Idina didn’t look so impressed I’d assume they were plants. Witnessing all these great voices coming together was a true highlight.

I’d be remiss not to mention the Sydney Symphony Orchestra too, who helped elevate Idina’s act as only a full orchestra can. What a combination.

I’m still raving about this show to anyone who’ll listen days later. It was incredible, utter magic. And for nights like that, I’ll happily accept a little post-concert fatigue!

The Sydney Opera House is pretty strict about its no-photos policy, so with that in mind I figured I’d share you one of the clips from the tour video. It’s not Sydney, but it shows how special it is when Idina works with an orchestra. Enjoy!

Posted on by Lauren Katulka

“Sandbox Love” – Von Stache

It’s been a long time coming, but Victorian one-woman electro-pop powerhouse Von Stache has finally treated us to her debut EP Sandbox Love. I reviewed the title track way back in December, and the songs that follow is don’t disappoint.

This is an EP which really celebrates that New Wave sound we all enjoyed in the 80s. It’s summery and joyous, but there’s an undercurrent of feminine rebellion there. Think Kim Wilde or the Go Gos. There’s a little darkness to it, but it’s balanced beautifully with saturated synths and an unashamedly pop energy which is guaranteed to make you smile.

While the title track was also the lead single, the supporting tracks don’t let the EP down. It works really well as a unit, with high energy and no filler. I guess that’s the beauty of a three-track EP, although I can’t help wishing for more!

Fans will undoubtedly get that when Von Stache launches Sandbox Love at the Barwon Club in Geelong on June 29.

Image source: Von Stache Facebook page

Posted on by Lauren Katulka

Jesus Christ Superstar @ Entertainment Centre, Sydney – 8 June 2013

It’s been more than twenty years since a major stage production of Jesus Christ Superstar graced Australian theatres. That makes me feel old, and also believe that the revamp was long overdue. So I couldn’t want to see where the creators would take the Andrew Lloyd Webber musical this month. I’d heard whispers of course, as word trickled through from London. I knew it was edgier, more modern, but I wasn’t prepared for how dramatically different this version was from the one I enjoyed in my youth. Such a shakeup can be dangerous, but in the case of JC Superstar it was inspired.

Rather than placing an orchestra in the pits, organisers put rock musicians to the side of the tiered stage, so close to the action. Those historical costumes were largely gone, replaced with street clothes that wouldn’t have appeared out of place in RENT. Videos beamed onto the back screen alluding to YouTube, game shows, tabloid news.

But at the centre of it all, we had a stellar cast and incredible songs. Those are the key elements that can’t be messed with. They grounded the production and ensured the largely older audience stayed connected despite the contemporary changes. Tim Minchin was predictably Judas. He showed he’s got much more than comedy chops, attacking the complex role of Judas with relish. Ben Forster is a real find. My mum, a three-time JC veteran, said his version of “Gethsemane” was the best she’s witnessed. That song is such a pivotal moment in the musical, and it was played out exquisitely. How exciting to see a Spice Girl furthering her craft rather than cashing in with roles on mediocre reality TV. Mel C held her own against some theatre veterans. I was also impressed with Andrew O’Keefe, who played to his strengths with his glitzy “Lord or Fraud” game show take on “King Herod’s Song.”

The first half was satisfying but the final act was gutwrenching. The production didn’t back away from the horror of the story, and even added some nasty bits for good measure. It wasn’t pretty, but it was inspired.

What a shame more young people didn’t make it to this production. As I looked out at the predominantly grey-haired audience I couldn’t help thinking of how much Gen Y would have enjoyed this thoroughly modern take on classic musical theatre.

Posted on by Lauren Katulka

Richard Clapton @ Lizotte’s, Newcastle – 2 June 2013

There are certain performers that keep you coming back year after year. They always sing the songs you want to hear, sound sublime while doing it, and give so much of themselves to their fans. For my family, Richard Clapton is one such performer.

I first saw Richard Clapton performing a free show with Mental as Anything at the Sydney’s Powerhouse Museum decades ago. I didn’t really know I was a Richard Clapton fan back then. The show was something my parents took me to at an age when I didn’t control such things. But I was definitely a fan by the time I left. I was stunned by how many of his songs I knew, and how effortlessly he performed them.

So many years have passed, and I have lost count of the number of times I’ve seen Richard since. We’ve all grown, but the consistency of his concerts remains. So when my parents won a free dinner and show at Lizotte’s Newcastle, we knew we’d have to see Richard again.

What a shame we had to suffer through Hats Bennett before we did. I rarely make comments so harsh, but there really wasn’t a lot to like about Hats. His hat was cool, and he was a really solid guitarist. It’s just a shame that he didn’t stop there. His songwriting was really underdeveloped (a song about introducing a new cat to another? Really?) and his voice had serious limitations. I don’t need a perfect voice, but if yours isn’t strong you probably shouldn’t aim for a falsetto. It seems I wasn’t the only one, as the crowd’s reactions ranged from bored to bemused.

All was forgiven once Richard stepped on stage though. What a talent he is. It might seem clichéd to insist that he only gets better with age, but the addition of Jak Housden to his band ensures his music is certainly sounding better than ever. Hit after hit washed over us, punctuated by Richard’s witty banter and insights into that brilliant back catalogue. Richard doesn’t seem to mind staying with those time-honoured songs. He knows why people see him play, and he’s only too happy to oblige. He treated us to just one song from his new album Harlequin Nights, ensuring he didn’t push the patience of a crowd that clearly wanted to just sing along.

An encore seemed like a mere formality. We all knew he’d never leave us before singing “The Best Years of Our Lives” and “Girls on the Avenue.” Even when his trademark sunglasses snapped in two before that last track, he knew he had to soldier on. He did only half joke that he’d do away with anyone who snapped a photograph though, and when someone cheekily did with a smartphone, I thought he might follow through on that threat! But it was all in good fun, and the perfect end to another great night with Aussie rock royalty.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“To The Motel” – William Street Strikers

After treating us to a full album last year, Adelaide’s William Street Strikers have gone back to the short EP format for their latest release To the Motel. It’s an interesting tactic which allows them to focus their sound and produce a more crowd-pleasing release than their previous effort.

I enjoyed their full-length album Keep Left, but wondered whether it was too eclectic to appeal to the masses. To the Motel doesn’t take as many risks, which is both a blessing and a curse. After appreciating the daring of the album, this feels radio-friendly but a little safe. However the conviction of the band shines through.

This EP is all energy, but that’s not to say that it’s a frenetic EP. William Street Strikers know when to ease off the intensity, but driving drum beats and chunky guitar chords dominate. The title track starts the EP with a bang, leading us easily into the bluesy rebellion of “So Fukn Restless”. “Sure Baby” sees William Street Strikers taking the foot off the throttle a little bit, but there’s no losing the emotional intensity. The band makes sure their EP ends on a high with the rocking “Blind Fred E”.

To the Motel is an EP that’s accessible, with an energy that’s infectious. It shows a band that’s discovering their sound. Hopefully next time we’ll see William Street Strikers exploring it more completely on another album.

Image source: Music SA

Posted on by Lauren Katulka

Molly Ringwald @ Pier 2/3, Walsh Bay – 26 May 2013

Every generation has a woman that makes a difference. She’s the kind of woman who inspires us. She’s the one that girls want to be, and guys want to be with. And for my generation, that woman was Molly Ringwald.

I remember being in awe of Molly as I grew up. I admired her strength as I watched her on screen railing against stereotypes and social classes. I desperately wanted to kiss Andrew McCarthy and Judd Nelson too. All those feelings I had about Molly never went away, so there was no question in my mind that I had to be there when she closed the Sydney Writers Festival with her jazz music.

Honestly, I went to bask in her presence, not to appreciate her music. She could have said she’d be there to read the phone book and I would have bought a ticket. For the first few songs I couldn’t think of anything else other than the fact that this woman who means so much to me was right there, breathing the same air as me, under the same roof as me.

But as the evening wore on, I found that I appreciated so much more than that. Admittedly, Molly isn’t technically the world’s best singer. Her voice is a little thin, and you can hear her struggling to reach the high notes. But her voice has so much character, and the charisma she oozed on the silver screen translates well to the musical arena.

I also appreciated that she really knows music. Her songs were so carefully chosen, jazz classics that aren’t overdone by the countless artists that delve into the Great American Songbook. The influence of her father, a jazz musician in his own right, was apparent. Her knack for telling a story was showcased beautifully in “I Get Along Without You Very Well (Except Sometimes)” and “Ballad of the Sad Young Men”.

She also gave so much of herself, chatting in between every song about the music, her family, and her life. By the time she closed her regular set with “Don’t You (Forget About Me)”, a tribute to the late great John Hughes, we were all on her side. There was no doubt we’d ask for an encore. She might be best known as an actress, but as a jazz musician Molly Ringwald certainly holds her own.

Image source: own photo