Category: Reviews

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

Posted on by Lauren Katulka

Darren Percival @ Lizotte’s, Kincumber – 26 April 2013

I’ve been reading a lot of criticism about The Voice lately. I’ve heard that the program exploits its artists, that it doesn’t recognise the talent of established musicians, that industry professionals shouldn’t appear in the first place, that it’s gimmicky and fake and not the place Australians should turn to when discovering local music. I don’t deny the talent of many Aussie musos slogging away in the pubs and clubs. I accept this program isn’t an arena that many musicians would feel comfortable competing in. But when I question the value of a program like The Voice, I just have to look at Darren Percival.

Darren was one of those musicians I knew before he stood in front of those four chairs last year. I’d seen him sporadically live before then, singing backup vocals for James Morrison, and Jimmy and Mahalia Barnes. It took that program to take Darren to the front of the stage. And that’s just where I like him.

There’s something about the promise of a Darren Percival performance at Lizotte’s Kincumber that is irresistible to me. I’ve now seen him three times at the venue since he won The Voice, and every show’s been special. Darren seems so comfortable here, in this small space where punters can pass him handwritten notes acknowledging their parents’ wedding anniversary and milestone birthdays. He seems to thrive on the intimacy that comes when he can step down off the stage and walk amongst us, sitting down beside one adoring fan, taking the hand of another. There’s none of that inevitable distance that comes from a larger venue, and we all lap it up.

Much like the last time I saw Darren, the set contained highlights from Darren’s time on The Voice, the Ray Charles covers featured on his latest album, and a few other favourites. The blend doesn’t change too much, but there are always a few surprises. Who on earth would have expected a cover on Eddy Grant’s “Electric Avenue”? That alone might have been worth the price of admission, but I also hung on every word of his incredible version of “Georgia on My Mind”, and his solo take on “Without You”, the song he sang with mentor Keith Urban while on “that reality show”. His rousing rendition of “Hit the Road Jack”, with back-up singing from the captivated audience, was also spectacular.

You can say what you want about The Voice, but I’m thrilled it exists if only to see artists like Darren headlining concerts like the one I witnessed. I wonder which of the new breed I’ll be raving about in this way next year?

Image source: own photo

Posted on by Lauren Katulka

“Cold Lights On Curious Minds” – Jordan Millar

Jordan Millar is one of those rare artists that I fell in love with at first note. “Walking on Me” was just so ridiculously catchy, and its follow-up “Maps” was every bit as impressive. I knew I’d love his latest album Cold Lights On Curious Minds, and I wasn’t disappointed.

“Maps” really is the perfect opener, as it sets the scene for an album that’s instantly accessible. It’s an easy blend of pop and folk, two genres that underpin many of the album’s tracks. Not that Jordan is a one-note pony. He shows more edge with “High Horse”, a bluesy tune which wears its heart on its sleeve. I also felt the helplessness and hurt in the moving “Guilty”. “Losing Hope” is a poignant number made that much more beautiful with Elle May’s angelic guest vocals.

“More Time, More Money” is a fitting closer for an album that features guest appearances from many of Jordan’s friends including Elle, his touring buddy Jack Carty, Australian Idol graduate Amali Ward, and acclaimed keyboardist Beau Golden. This track feels like a jam, a coming together of voices and hand claps and instruments that truly reflects the collaborative nature of Cold Lights On Curious Minds.

It might have been a group effort, but Jordan is the star here. His acoustic guitar chops drive the tracks, and his warm voice has an honest, organic quality that immediately draws you in. This album is a really easy listen. Some might criticise it for being too easy, too pleasant, but since when has that been a bad thing?

Image source: iTunes

Posted on by Lauren Katulka

Counting Crows @ Opera House, Sydney – April 9 2013

Goodness, has it really been that long? I apologise, I really do. Life’s been a bit hectic with birthday celebrations (yes plural – I managed to stretch mine out over four days, which is no mean feat) and concerts. I could wax lyrical about the former, but since this is a music blog turning my attention to the latter is probably for the best.

The day before the big birthday bash I made a pilgrimage to the Opera House to see one of my favourite bands of all time, the Counting Crows. I’ve loved them since I hit my teenage years and the lads released August and Everything After. So much has happened since then, but I found myself becoming that enthusiastic thirteen-year-old again as I entered the venue.

I’m kicking myself that my dinner dragged on and I missed the start of Jackson McLaren’s set. Vocally he reminded me a lot of one of my favourite singers Howie Day, but his tight alt-country rock band gave his music a different dynamic. Not enough acts play with a fiddle either; I take my virtual hat off to their violinist who added a real richness to the sound. I definitely want to hear more from Jackson and his crew. I’m a fan.

I could have listened to Jackson all night if I weren’t so psyched to see the Counting Crows. They set the scene with the opening number, one of those first singles “Round Here”. It’s a song that’s morphed into something very different over the years, as many of the Counting Crows songs have. The band likes to play free and easy with the melodies and lyrics, which can be alienating. I know I’ve criticised some acts for this before. But I felt that the changes were sincere and heartfelt. It wasn’t about being bored with the songs or trying to be clever. It’s just how they come out right now.

The Counting Crows aren’t a band that ever delivers a predictable set. There are no certainties, and that makes every favorite song you hear that much more exciting. To hear my two absolute favourites was something I hadn’t dared dreamed of. Yet sure enough, “Mrs Potter’s Lullaby” made an early appearance, and “Anna Begins” came out in the encore. “Colourblind” was also breathtaking, with a single spotlight on singer Adam Duritz ensuring we stayed transfixed. As if that was ever in doubt. “Rain King” had me pumping my fists in exultation.

If I was to make any criticism it’s that I wish Adam talked to us a little more. We had a word here or there, but there were none of the long explanations of songs or tales of travel that I adore. However it’s a bit hard to criticise someone for not sharing enough of themselves when they do it so completely with their music.

They say that you can never really go back and perhaps that’s true, but when you can spend a night with a favourite band it feels like for just a few hours, you can.

Image source: Jimmy Harris @ Flickr

Posted on by Lauren Katulka

Jake Shimabukuro @ Lizotte’s, Newcastle – 31 March 2013

In a week that’s seemed far too short, it’s nice to take a breath and look back on a moment I got to slow down. There really is no better place to do that than Lizotte’s, especially when the wonderful Jake Shimabukuro is playing for you.

I ordinarily frequent the Kincumber Lizotte’s, but Easter festivities lured me to the Newcastle venue with my parents. There’s a different vibe to the Newcastle venue. It’s still warm, but there’s a little more space to spread out. That means it loses a little of the lounge room feel, but it’s still much more intimate than most venues around. And just like the Central Coast, the food is to die for. I struggled through my generous serve of herb battered fish and chips after a big Easter lunch, but it was too delicious to leave.

There was no support act tonight, perhaps because following Jake would be a tall order. I’d caught some of his performances online, but I really went into this show knowing very little. He joked that expectations are always low when people see someone playing ukulele. His reputation precedes him though. I was expecting greatness, but I didn’t expect to be quite as engaged as I was.

You see, I’ve always been a lyrics girl. Without lyrics to hang on to I wondered whether parts of the night might drag. No chance. Jake relished sharing the stories of the moments that surrounded his original songs, and they allowed us to understand the instrumental pieces better. He’s also such a compelling, dynamic performer. You can feel him, whether he’s strumming hard or playing so softly that you have to strain your ears.

The sounds he gets from a ukulele are incredible. The instrument has a range of just two octaves, yet he somehow makes it sound like so much more. He played it like a mandolin, like a guitar, like a piece of percussion. I couldn’t believe the tones he created.

While his originals were solid, the covers wowed me. I knew I loved his version of “While My Guitar Gently Weeps,” and it was a fitting encore. However I was most impressed by his take on “Bohemian Rhapsody.” It was just so clever, with the ukulele singing all of these incredible parts, from rock to opera.

My expectations weren’t as low as Jake teased that they might be, but they were still exceeded by this incredible musician.

Image source: own photo