Category: Reviews

Posted on by Lauren Katulka

“Falling for You” – Carmichael

Queensland’s Carmichael introduces us to his brand of electro-pop with the EP Falling For You.

While it’s billed as an EP, the recording feels a lot more like an old school single. “Falling for You” is the centerpiece, with a standard version, an “alt version,” and three remixes. That focus on one track makes the others feel like B-sides simply supporting the title tune.

“Falling for You” is a solid number though, which undoubtedly deserves its time in the sun. I was particularly impressed with the lyrics, which are far more poetic than the words we find in the average floor filler.

The stripped back coda “Time” is an exquisite bridge between the lead single and Carmichael’s creative cover of “Tainted Love.” It takes real musical instincts to reinvent a song so dramatically. This chilled out but dark take is very clever.

I’m not one for remixes or reworkings at the best of times, so for me the five versions of “Falling for You” felt like overkill. However they do help us see the title tune in new lights.

With his Falling for You EP, Carmichael’s shown he’s got a natural feel for dance pop with heart. The recording doesn’t offer a lot of diversity, but it hints at just what this fledgling artist can do.

Posted on by Lauren Katulka

David Campbell @ Mingara, Tumbi Umbi – 8 September 2012

I last saw David Campbell celebrating the music of the 1980s in April. David and classic pop tunes proved to be a match made in heaven, but the somewhat stiff venue of Newcastle’s Civic Theatre didn’t quite gel. So I was thrilled to see the show again last weekend at the Central Coast’s favorite club, Mingara.

In many ways this was the same show I saw a few months ago. The core stories remained, the outfits were every bit as loud, and the set list had just a few tweaks. The ’80s music took centre stage, much to the chagrin of a few murmuring nannas in the audience. They were treated to “Smoke Gets In Your Eyes” after intermission, and “Shout” at the conclusion, but David clearly had a vision for the night. As a child of the ’80s myself I lapped it up, even if I did feel a little sorry for those confused old ducks.

Spandau Ballet’s “True” is my favourite song of all time, and again David Campbell transported me back to the time I first heard it. His simple rendition gets to the heart of the classic ballad. The stripped back section, with covers of Yazoo’s “Only You” and Kenny Loggins’ “Footloose” was another highlight. And David’s takes on “Goody Two Shoes” and “Come On Eileen” might even be better than the originals.

While I heard the same music as before, there was a more spontaneous feel to the evening that really suited these commercial pop songs. He told us how Mingara was always a favourite place to play, and he seemed to relish the chance to move away from the script. An impromptu question and answer session was a bit of fun, even if the wrinklies turned on him when they discovered young Leo Campbell was yet to meet his grandmother. The inevitable hecklers were treated with David’s trademark humour, and he blew kisses at the women who boogied with abandon at the front of the stage.

David apologised sincerely that he couldn’t meet us all after the show and sign autographs as he usually does, but he needed to be up at quarter past four for another Channel Nine morning show stint. A lesser performer might have cut the show short to hit the highway early, but not David. He performed a full length set that never felt rushed and an enthusiastic encore with the energy turned up to eleven. I certainly wasn’t awake to see the TV performance he gave Channel Nine viewers on Sunday morning, but the one he served up for the Central Coast the night before was flawless.

Image source: own photo

Posted on by Lauren Katulka

“Little Father Time” – We Are The Birdcage

We Are the Birdcage first captured my imagination in March with their sweet single “Two Left Feet.” They make good on the promise I heard there with their debut EP Little Father Time.

In six tracks, the Sydney duo firmly establishes their sound. It’s folky, with gorgeous harmonies at the fore. The music is simple, but it swells unexpectedly as the tunes hit their emotional crescendo. The whole thing is really beautiful, accessible and well-crafted with few rough edges. Critics might call it too gentle and cruisy, but there’s something so appealing about the sweetness most of the tracks convey.

Not that We Are the Birdcage are incapable of digging down and finding some extra grit. “Much Too Small” is my favourite song from the recording as taps into that emotional core and ups the intensity. That extra dirt is so compelling. I loved the other songs, but adored this.

I was enjoying Amanda’s K’s vocals so much that it was a bit jarring to hear the twosome switch things up for the closing track “Carry the Fire.” It’s a gorgeous song, but that dominant male voice doesn’t quite gel with the rest of the recording. That’s really the only blemish on this EP though. Little Father Time is a gorgeous journey through We Are the Birdcage, and a hint at the brilliance that’s yet to come.

Posted on by Lauren Katulka

“It’s An Endless Desire” – Penny Hewson

Melbourne songstress Penny Hewson charmed me with her single “This One’s For You,” so I was excited to see what she’d do with a longer format. With her album It’s an Endless Desire hitting stores today, we’ve all got the chance to find out.

The single opens the disc and proves to be one of its standout tracks. Its pop sensibility easily draws us in, hinting at more melodic gems to come.

If you were expecting an album full of those catchy whimsy-pop numbers from Penny, you’d probably be disappointed. Many of the songs are low-key, even a little sleepy, until you make an effort to really listen to them. It takes catching the lyrics of these well-crafted tunes to truly appreciate this album’s depth.

“This One’s for You” might be the album’s most accessible number, but there are plenty of other jewels to be found through it. I thought “My Apology” was achingly beautiful, and I loved the equal measures of sweetness and sorrow in “Most of All.” “Higher” is a glorious way to close out the album. This song’s my favourite, a restrained and beautifully crafted number that really hits the heart.

There are probably two ways to listen to It’s an Endless Desire. You could slip it on as a party’s winding down, or you’re nursing a hangover the next day. People that do will let the gentle tunes wash over and soothe them, never moving from the background. Or you could choose to look deeper, engage with the lyrics, and appreciate the way Penny’s sweet and pure voice swells against a piano, a trumpet, or a flute.

It’s an Endless Desire is a bit of a slow-burner, but it’s a beautiful album that becomes richer with every listen.

See Penny Hewson launching It’s an Endless Desire at The Empress Hotel in Fitzroy on August 31.

Posted on by Lauren Katulka

“Glasshouse Living” – Molly Contogeorge

It took just five songs for Sydney singer-songwriter Molly Contogeorge to knock my socks off with her new EP Glasshouse Living.

The disc opens with “Lead On, Lead On,” a self-assured track which acts as the perfect introduction for newcomers. Molly takes things down a notch with the title track, but it’s an easy groove rather than a sleeper. Just when I thought I might have Molly pegged she took me somewhere different with “Lock and Key.” This brassy number shows another side, with plenty of sass and conviction. But Molly’s not all edges. The following track “Why” is a lush ballad with a palpable ache. “Off I Go” plums similar territory, but in a more minimalist way. This song proves the power of a lone voice and a piano. Without all the noise around it, those heartfelt lyrics really have time to breath.

Glasshouse Living is an eclectic mix, but Molly’s piano playing and delicate voice, dripping in soul, anchor the tracks. They show her to be a dynamic and enigmatic musician. I can’t wait to hear more!

Image used with permission from Molly Contogeorge

Posted on by Lauren Katulka

Melissa Etheridge @ Opera House, Sydney – 11 July 2012

We’ve all got those albums that nurse us through hard times. You move on from those moments, but they always occupy a special place in your heart. Melissa Etheridge’s self-titled album was one of those discs for me. It was on my periphery on its release, but eight years later when I was a teenager pining over a relationship that never was it all clicked. Melissa’s raw emotion and the lyrics she wrote echoed the heartbreak I felt like nothing else could.

It was that connection I felt so many years ago that took me to the Sydney Opera House on Wednesday night. We’ve bought gotten older, but it was wonderful to cross paths again.

The Melissa of today is much more optimistic than the one that delivered that painful debut. That spirit was encapsulated in her opening number “Fearless Love.” She soars in those strong powerful numbers, but I was thrilled to see she can still tap into that hurt from years gone by. I was floored by a stripped back version of “Precious Pain,” one of the little known numbers from that first disc. The desperation of “I Want to Come Over” was palpable, and the anger of “Somebody Bring Me Some Water” filled the room. Newer positive songs like “Falling Up” can’t quite match the intensity of those earlier tracks, but they bring some necessary balance to her set. So too does her easy banter with the crowd. Her joy at performing in Australia after so long, at a venue she holds in such high regard, was evident.

Melissa closed the night with “Like I Do,” a number that’s everything I love about her. She rocked hard and left her heart on the stage. This tour was a long time coming for her fans, but she gave us everything we could have wished for. Hopefully we won’t be waiting so long for the next go round.

Image source: Angela George @ Wikimedia Commons

Posted on by Lauren Katulka

“Behind the Stars” – Paul Greene & the Other Colors

There’s not a lot of flash or fanfare to Paul Greene. When he releases a new album the industry barely murmurs. Yet he continues to be one of Australia’s most consistent singer-songwriters.

The rest of the music world might not be making a lot of noise about Paul’s latest album Behind the Stars, but the disc has taken up permanent residence in my stereo. It’s one of those albums that makes you want to press play again the moment that the final track ends.

I was surprised by the opening title track; it’s very different to that easy pop rock I associate with Paul Greene. That difference isn’t a bad thing though. It’s a beautiful tune, with haunting vocals and lovely lush orchestration. After that somewhat experimental number, Behind the Stars settles into a more familiar feel. Don’t mistake that familiar feel for being middle of the road. It’s a gift to create music so instantly accessible.

I found myself writing copious notes about the tracks as they washed over me. I noted the great bluesy groove of “Her Minor Key,” the striking simplicity of the romantic “Enough of You,” the no frills John Cougar Mellencamp vibe of “What You’ve Got Goin’ On,” and the cheerful mood “Bad Luck Lately” put me in.

But then I realised I could say something positive about every single track on the disc. There are no fillers here; it’s just a good honest album jam packed with good honest song writing and genuine talent. Behind the Stars is another solid stunner from Paul Greene.

Posted on by Lauren Katulka

Lisa Mitchell @ Christ Church Cathedral, Newcastle – 4 June 2012

On Monday night I braved the cold and set off down the freeway to catch the first show of Lisa Mitchell’s Heavenly Sounds tour. I’m not religious, but the opportunity to see this exciting singer-songwriter perform in Newcastle’s stunning Christ Church Cathedral was too tempting to refuse.

Georgia Fair warmed up the crowds with their harmony-laden brand of folk music. I’ve seen the lads perform a few times now, but against the dramatic church setting they delivered perhaps their best set yet. The superb acoustics of the church worked well with their stripped back style, and I lapped up every second of it. Of course, there was more to come.

When Lisa Mitchell took to the stage it became clear that this wouldn’t be just another musical performance. She started her set reading some poetry from John Burroughs before welcoming her musicians and supporting vocal trio on stage. It was an unusual beginning, but one befitting a night with this quirky talent. She played a few gorgeous new songs before pleasing the masses with “Neopolitan Dreams.” I’ve always loved this whimsical track, and it sounded especially good in the church.

That easy mix of old and new tunes continued throughout the evening. She chatted shyly in between the songs. That banter still doesn’t seem to come naturally to the softly spoken singer, but I appreciated the effort. I also found it interesting to watch her stammering, then singing so effortlessly. She’s clearly a girl most comfortable making music.

While leaving Lisa to perform solo, her band discovered the lunar eclipse outside. She was desperate to see it too, but dutifully played a few more numbers before rushing off. An encore was inevitable, but the break allowed her to see the sky’s performance. She assured us there’d be a little left after she played some more, and sure enough we managed to see the tail end of it as we left the church. Staring up at the moon was a fitting end to a night that wasn’t religious, but definitely felt spiritual. Lisa Mitchell has the voice of an angel, and it’s impossible to be unmoved as she encourages you to chant with her or clap along. If the Newcastle show was any indication, fans are in for a real treat as Lisa takes in churches around the rest of the country.

Image source: Wideangle@108dB @ Flickr

Posted on by Lauren Katulka

Prince @ Brisbane Entertainment Centre, Brisbane – 18 May 2012

I wrote this post sitting at Brisbane Airport, preparing to return to my real life and reflecting on a wonderful weekend. So many factors made it special: reconnecting with good friends, dancing until the wee small hours with boys that were far too young, singing songs around an RSL piano, drinking amazing wine. But at the heart of it there was Prince. He was the man who inspired me to make the trip to Brisbane to begin with, so perhaps it’s fitting that his Friday night show was one of my long weekend’s highlights.

I started to feel that thrill of excitement before the doors even opened. There’s something special about standing in a sea of folks dressed in purple whose excitement is just as palpable as yours. That frisson reached fever pitch as we stepped inside and took in the iconic love symbol shaped stage. It escalated again when a lone guitarist appeared to serenade us for a bit with an introduction to “Purple Rain” before the full band and Prince himself graced us with his presence and a killer rendition of “Jam of the Year.”

And what a presence it is. I was so struck by him, spellbound as I watched him dance and sing, using the full extent of that big stage, playing to the entire room despite its size. I found myself thinking about other entertainers he reminded me of: Little Richard, Michael Jackson, Jimi Hendrix. He’s all that and more. A born showman who is completely captivating and utterly sexy.

And he’s got the songs to match that electric stage presence. There were some notable absences, but I suppose that’s inevitable for a man with such an impressive back catalogue. He certainly crammed as much as he could in, even if it meant singing just a snippet of some like “Pop Life” and “Darling Nikki.” “Let’s Go Crazy” and “1999” were electric, and the unexpected appearance of “Shhh” made me weak at the knees. Hearing him sing “Purple Rain” will stick out as one of my most treasured concert moments. Sitting in a room illuminated by the light of thousands of mobile phones – the new cigarette lighters – was incredible. Watching purple glitter fall as the song snaked towards its epic conclusion is something I’ll never forget. “Kiss” was perhaps the perfect closer, cheeky and playful and everything Prince showed us he is.

I travelled a long way for the performance but it was definitely worth it to bask in his aura for a few hours. When I told people I was going to see Prince a few suggested he might be past his prime. However on reflection it seems the Purple One is just warming up.

Posted on by Lauren Katulka

“The Cat & The Fiddle” – Tomas Strode & The Tour Guides

I needed some cheering up this week. I’ve been battling a cold for far too long, and it’s leaving me tired and cranky. Tomas Strode & The Tour Guides managed to lighten my mood with their charming new EP The Cat & The Fiddle.

The opening title track charmed me from the get go. I loved the way the rough vocals contrasted with the song’s fairytale imagery and sweet harmonies. It captivated me from start to finish, and I couldn’t wait to hear what came next.

The problem with setting the bar so high though is that it’s difficult to hit it again. The remaining four tracks were definitely enjoyable. I loved the sweetly whimsical lyrics, which referenced nursery rhymes and children’s games. The music was also adorable, with traditional instruments complemented by real toys. But none of the songs quite captured the same magic as the opener.

Tomas Strode & The Tour Guides create really interesting music which takes the listener back to a simpler time. At its best it’s stellar, and when it’s less than that it’s still gorgeous. I’m not sure whether one of their songs will enchant me the way “The Cat & The Fiddle” did, but I look forward to hearing more of their stuff to find out!

The Cat & The Fiddle EP is available through Tomas Strode & The Tour Guides’ Bandcamp page. Victorians can see Tomas Strode & The Tour Guides launching the EP with an expanded eight-piece band at Fitzroy’s Evelyn Hotel on May 20.

Image source: Tomas Strode & The Tour Guides Bandcamp page