Category: Reviews

Posted on by Lauren Katulka

Jimmy Barnes @ Lizotte’s – 14 September, 2011

As I get older, it takes something really special to lure me out of home during the week. But the promise of Jimmy Barnes playing at Lizotte’s on Thursday night was so irresistible that even I couldn’t refuse.

I’ve seen Jimmy many times over the years, but never in a place so intimate. If you’ve never been to the Central Coast venue known affectionately as “The Cubby House” it’s hard to imagine just how small it is. Seeing someone there is almost like seeing them at a private party with friends.

I was smiling before anyone even graced the stage, with my belly full of Lizotte’s tasty soft shell crab and delicious herby battered fish. But that smile got even wider when Mahalia Barnes was introduced as our support act. Jimmy’s daughter is always good value, and I lapped up her soulful set. Her modern take on “You Are My Sunshine” was a real highlight, as was the closer which saw Jimmy make an early appearance to sing with his daughter. The name of the song escapes me, but I was singing along in earnest.

It wasn’t too long before the Aussie legend was back on the stage with Mahalia and band in tow. He delivered a surprising set, but one that suited this venue perfectly. Anyone who came hoping to hear Jimmy’s greatest hits might have been disappointed. “Khe Sahn” and “Working Class Man” were notably absent, although he did treat us to a few Chisel and solo singles. The focus though was on songs that shone acoustically, especially those from one of my favourite Barnesy albums, Flesh and Wood. To hear some of my favourite cuts from that recording, especially “Guilty” and “Brother of Mine” was really special. Personally I enjoyed the opportunity to hear some of the songs that don’t usually get a work-out in the live arena; I’ve heard him sing the big numbers enough times at other shows.

The intimate setting made this show very personal. Where normally Jimmy moves quickly from track to track to please the punters, here he felt he could stop and talk to us about the songs a little more. I really appreciated that interaction. One of the most poignant moments of the night came when he stopped to talk about Steve Prestwich before performing one of his late mate’s songs, “When the War is Over” with Mr Percival on guest vocals. I also particularly loved his left of center closer, his version of “Love Me Tender,” again from Flesh and Wood, rather than a more predictable choice.

There are plenty of opportunities to see Jimmy rocking out. I’m thrilled that this week I got to see another side of this Australian music legend.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Nightfall” – Bec Plath

When she’s not keeping company with The Bloodpoets, Bec Plath is creating incredibly moving music as a solo artist. Her EP Unrequited was one of my favourite releases of 2010, and I was thrilled to see her follow it up with another stunner in Nightfall.

There are just four tracks on this short player, which makes it a bit bittersweet. I was captivated from the opener “Obsession,” a song driven by a dark Tori Amos-esque pounding piano. It could easily become too gloomy, but it’s balanced beautifully with its strong melodic core. “What I Was Waiting For” floored me with its passionate delivery and lyrics. It seemed all too soon when the opening strains of “At The End of the Night” began to close this release. This tune starts sweetly, showing a softer side of Bec, but it builds beautifully to become something much bigger.

Nightfall sees Bec Plath delivering more lush and powerful music. It’s another stellar EP from this Queenslander. It only poses the question, when will this incredible talent treat us to a full length album?

Image source: Bec Plath Facebook page

Posted on by Lauren Katulka

“These Pictures Won’t Tell You” – Nik Lone

I’ve had one of those weeks. My internet went down on Tuesday, and has only just returned. Other people might take this as an opportunity to have a holiday, but with deadlines looming I found myself dealing instead with a pocket wi-fi that dropped out frequently in my suburban home, and was crawling when I was online. My parents jetted off to Italy, leaving me feeling very jealous, and my husband started to pack for his two-week business trip to the States. To say I’ve been a bit emotional may be an understatement.

And so predictably I’ve looked to music to soothe the savage beast. And I found it in Nik Lone’s debut solo effort These Pictures Won’t Tell You. As I slipped it in my stereo and the first track “Raining” washed over me I knew I’d made the right choice. The track is a slow burner, beautifully built. I thought what an amazing soundscape Nik had created, with his unique voice another instrument in the mix.

More lush, lovely tunes were to come, particularly the string-laden “Time” and the old-world influenced ballad “Little White.” I found myself enjoying all the tracks, but I had a few niggly issues.

There’s a fine line between creating tracks that burn slowly and ones that are merely sleepy, and I think Nik crosses that sometimes. Some parts frankly bored me. Every song had its moments, but many tunes didn’t sustain themselves for the length of the song. I’d nod in understanding when they reached their pay-off point, but that often came about three-quarters of the way through the track. The radio lover in me noted that many people would have changed the channel by then, missing those really crucial moments.

But These Pictures Won’t Tell You really isn’t a disc for the radio-loving set. It’s challenging and complex. While I appreciate the way it soothed me this week, something tells me I’ll really get it a few weeks from now, or perhaps even longer. For now though I know this is a subtle, gentle album that’s a thing of real beauty. I know it won’t rev everyone, but for the patient listener it’s a find.

Image source: Nik Lone website

Posted on by Lauren Katulka

“So She Says” – Mark Boulle

I first fell for the tunes of Mark Boulle through his work with the Haba Dudes, so I approached his solo effort So She Says with great interest. Happily this solo endeavor doesn’t disappoint.

With this album Mark’s been able to flex his creative muscles in a new way. You can’t completely take the gypsy out of his sound. “Gold Coast” in particularly feels like it could have been lifted from a Haba Dudes record. But in general the sound is a bit more mainstream with its blend of pop, rock, and blues.

At his heart Mark is a songwriter. His vocals aren’t the prettiest, but the truth in the words he writes give the songs a real beauty. I loved the relatable story of “On the Brink,” which tells the tale of a girl feeling like her life just isn’t what she wants. I felt the heart in “Sweeter Deeper,” and found the jaunty melody of the title track irresistible. The Tender “Hold Your Head Up” is a beautiful closer with a great take home message of keeping courage when you’re feeling up against it all.

These heartfelt tunes are matched with a bare bones treatment. It was cut at Mark’s Gold Coast home, and that lack of studio frills really serves the songs well. That rawness allows the lyrics to come to the fore, and that’s where he really excels. I think a studio might swallow these songs up. So She Says is an album with some rough edges, but that’s one of its real strengths.

Image source: CD Baby

Posted on by Lauren Katulka

“Ghosts of the Past” – Eskimo Joe

I came to Eskimo Joe a bit later in the game. I was always aware of their music through the radio, but it wasn’t until the release of Inshalla that I really connected with the band. So I was pretty excited to see what they served up with their newie, Ghosts of the Past. The single “Love is a Drug” set the bar high, but sadly I’ve got mixed feelings about the disc.

It’s really hard to put my finger on exactly why I haven’t connected with this recording. It sounds gorgeous. Eskimo Joe are a talented trio, and they’re probably incapable of making bad, or even mediocre, music. This disc is really piano rich, and that gives the album an epic feel. It helps the music soar and elevates it beyond the guitar-rock the band used to deliver.

And there are some really great songs here. “Gave it All Away” is such a strong opener, with its big rock sounds and crashing drums. I loved the quirkyness of “Echo,” which has one of the most unusual and compelling melodies I’ve heard in some time. The title track seems destined to become a single. It’s got just the right combination of rocking riffs and melodic hooks to appeal to the MMM set.

A lot of the disc is quite big, but I prefer it when it’s less grandiose. The alt-country feel of “Just Don’t Feel,” with its acoustic guitars and rich strings, was like a breath of fresh air. And I was initially struck by the simplicity of the closer “Sky’s on Fire.” The initial portion feels like it was recorded on an eight-track in a bedroom. That lack of polish gave it a real truth, so I was disappointed when this track too became big.

Frankly I could listen to an album of the small stuff, and that might be where my problem with Ghosts of the Past lies. This album sounds incredible, but such refinement comes at the expense of some soul. The lyrics are really strong, but it’s difficult to focus on them with so much else going on. It’s interesting that Eskimo Joe gave fans a preview of this album with an acoustic tour. Personally I think that stripped back delivery would have made these songs much more compelling than the wall of sound the band’s offered here. Ghosts of the Past is far from a bad album, but it’s not quite the record it could have been.

Image source: Eskimo Joe website

Posted on by Lauren Katulka

“Yearlings” – Dead Letter Chorus

I’ve been having a love affair with Dead Letter Chorus all year, happily devouring each single released as I awaited the release of their sophomore album Yearlings. With the big day still a week away, I was thrilled to sample it before it hit stores.

My expectations were very high, but Yearlings met them. It had me from midway through the first track “Covered in Snow.” The sound was just so lush and rich, with stunning harmonies and epic notes behind it. This track really set the standard, but there was more goodness to come.

I loved the quietness of tunes like “Underdog” and “Gently Weeping,” songs that were so intimate and beautifully crafted. “The Changing Tides” moved me with its heartfelt lyrics, and it was good to hear the playful single “Run Wild” without that annoying Toyota ad behind it!

The only disappointment for me came with the closer, “Edge of Town.” It’s not that this soothing alt-country lullaby was a bad track, but it made the album sort of peter out. I hoped to be stirred by the disc one more time, but instead I was left wondering “Is that it?”

The good thing about an album though is that you can always replay it if the ending doesn’t quite hit the spot. And I’ve played it many times, savouring the ethereal sweetness of Gabrielle Huber’s voice, the quiet strength of her band mate Cameron Potts’ vocals, and the gorgeous music they make with the rest of the Dead Letter Chorus. Yearlings isn’t the perfect album, but it comes awfully close to it.

Yearlings hits stores on August 26.

Posted on by Lauren Katulka

“GoodTimes” – Eagle and the Worm

GoodTimes is one of those albums that immediately raises your expectations. The title of this Eagle and the Worm album promises positivity, and for the most part it delivers.

I must admit though, I wasn’t really sure when the opener “Summer Song” played out. Its name sounds upbeat and optimistic, but the tune while accomplished was also a bit more atmospheric and inaccessible than I’d imagined it. I could appreciate it as a standalone song, but it seemed like a really strange choice.

Thankfully things heated up with the second track, “Futureman.” Its summery feel, lazy slide guitar, and warm brass tones were exactly what I imagined when I saw the album’s title. “All I Know” continued that party vibe. It felt exactly like the sort of tune you might bust out after a few tequilas.

For me the disc took a turn for the worse with “Not Coming Home.” It really felt a bit too psychedelic for the rest of the recording. Perhaps it was intended to represent the point of the party where certain guests are dropping acid, but just as it’s hard to relate to someone else’s trip it was all a bit inaccessible for me.

“1 to the 4” brought the album back for me. It’s that perfect end of the party slow dance song, where after some liquid courage you finally find yourself in the arms of that person you’ve been eyeing all night.

GoodTimes is one of the most evocative albums I’ve heard in some time. Its tunes take me to places and evoke feelings, and that’s really a cool thing. But it’s sad that it kind of drifts off at the end. Perhaps that’s just representative of the way most parties turn out, but it seems a band should be able to sustain themselves on an album without resorting to fillers, particularly when it’s just ten tracks long.

Despite that though, I love this album’s organic, spontaneous feel. It was recorded in bedrooms and loungerooms, and that really shows. It’s a bit rough in places, but that makes it feel very honest.

I can imagine GoodTimes becoming my summer soundtrack. I don’t even like that season, but there’s an energy about this music that has me craving it.

Posted on by Lauren Katulka

Mary Poppins at the Capitol Theatre, Sydney

It’s a strange thing to sit in a venue and not feel part of the experience. Others around you are likely swept up in what’s presented, yet you feel a disconnect. It’s happened to me a few times at concerts, when the young girls squealed in raptures and I felt underwhelmed. And I felt it again when I saw Mary Poppins live on Friday night.

The moment it really hit home was somewhere in the middle of the extended, or drawn out, version of “Supercalifragilisticexpialidocious.” It seemed to go on and on and it seemed everyone in the theatre was singing that infernal chorus over and over again, clapping their hands in time. And I thought “Well this is all a bit silly, isn’t it?”

To be fair, I wasn’t a great fan of the Disney movie. I saw it as I saw many others of the vintage, but didn’t rewatch it tirelessly the way I did Bedknobs and Broomsticks. I decided to go see the stage production though as everyone had raved about it, and my parents and husband were keen. And besides, I had never met a musical I didn’t like. Famous last words.

Mary Poppins wasn’t all bad. Verity Hunt-Ballard had the presence and poise to pull off the role of the imposing but kind-hearted titular nanny. Phillip Quast’s Mr Banks had just the right amount of bluster. The children were quite lovely, not at all as cloying as child performers tend to be. I wasn’t entirely convinced by Matt Lee’s Bert, but boy that man can dance.

And as a spectacle, Mary Poppins certainly exceeded my expectations. I’ve never seen set design like it, with the Banks house folding up and down and every which way to take us into the rooms and up to its roof, with the lights of London twinkling all around. And no one could fail to be impressed as Mary Poppins flew off into the night. The only problem was, when she did it at the end of the first half I didn’t particularly want her to return.

Where Mary Poppins missed the mark for me was heart. I couldn’t help thinking back to seeing Hairspray a few weeks prior, and the way I felt so invested in it. It wasn’t as glittery, but it seemed to have more soul. At so many points in Mary Poppins I felt detached, uninspired, and frankly a bit bored. I just couldn’t get swept up in it all. Clearly I’m one of the few that feel this way. The countless Helpmann Awards, glowing reviews, and comments of my own family members tell a different story. I guess it just goes to show that you really can’t please all of the people all of the time.

Image source: Newtown Graffiti @ Flickr

Posted on by Lauren Katulka

“Roslyn” – Rackets and Fives

Western Australia seems to have the market cornered on interesting folky music. From more established acts like John Butler Trio and The Waifs to newer discoveries like Tim Nelson and the Infidels, I’m finding a lot to like out west. And now a new name has caught my attention, as this week I learned about Rackets and Fives and their album Roslyn.

This disc is really ambitious. There are tunes here that are so removed from anything else I’m hearing lately, and that’s really exciting. I must admit, I found a difficult to latch onto it at first, but the more I listened to it the more I liked it.

Roslyn certainly isn’t a perfect album. It lacks a certain cohesiveness. An album can be eclectic but still feel like a complete unit, but this one seemed more like a disparate collection of songs. Some tracks didn’t quite hit the mark for me, yet others bowled me over. And when you can get that latter reaction from several songs on a debut, independent release, I think that’s admirable.

“Ellis Island” was the one that first made me sit up and really pay attention. The strings really lifted it into a new place that was so exciting. I was similarly moved by another internationally titled track, “London Town.” It started out haunting, with a quiet power that grew with an amazing intensity as the track unfolded. “Storm Surge” was rollicking good fun, with some of the most exquisite harmonies I’ve ever heard. And “The Confederate Gold Stand-Off Saga” is as epic a closer as its name suggests. It takes you right back in time with its furious fiddles and ominous lyrics.

As I write about these tunes now I’m getting excited about them again, which really tells you a lot about their quality. With Roslyn Rackets and Fives might not have made the perfect album, but they’ve shown they’re a band with an awful lot of potential.

Image source: Rackets and Fives Bandcamp page

Posted on by Lauren Katulka

Bachelor Girl @ Lizotte’s, Kincumber – 30 July 2011

I first saw Bachelor Girl in the last 90s. They’d just released “Buses and Trains” and the strength of that song saw them supporting The Goo Goo Dolls at the humble Newcastle Workers Club. I was a young thing then, keen as mustard to catch a live show, and so I arrived with plenty of time to catch their set. I remember being struck by the power of the pint-sized Tania Doko, the charisma of this tiny creature who sang pop songs that were far more intelligent than the average.

A lot of years have passed, but I was every bit as impressed as I caught them on their extended reunion tour last night at Lizotte’s. “The Cubby House’s” small stage was warmed up by singer-songwriter Beth Robertson. Her set was simple but moving. It was touching to see her interacting with her guitar-playing husband, and hear the way her voice fit so perfectly with her back-up singing sister. An ode to Newcastle and its small-town feel inevitably won me over, and her stripped back cover of Katy Perry’s “California Girls” was another highlight. It was a set without frills, but its sincerity and simplicity won me over. I really hope to catch Beth somewhere again; she was brilliant.

Bachelor Girl have certainly lost nothing over the years. If anything the time apart seems to have done Tania Doko and James Roche good, as they appear to be performing with real joy. There’s an easiness about the way they appear on stage that can only come from so much time together.

Their set was punctuated by the big singles, but also featured some of the “lost songs” only heard on the new greatest hits album. I didn’t know all the tunes, but I didn’t need to. It was much more fun to discover them as the evening unfolded, listening to the lyrics and the anecdotes James and Tania told between tunes.

The acoustic setting shed a new light on the songs I’ve loved for years. Songs like “Permission to Shine” and “Treat Me Good” were played to death on radio in their day, but I found a new appreciation for them last night. To hear personal favourites “Buses and Trains,” “Lucky Me” and “I’m Just a Girl” once more in the live setting was another thrill. And their version of “Help,” which has only been performed a handful of times, was breathtaking.

There aren’t too many second chances in life, but I’m thrilled I got another chance to see Bachelor Girl. They were one of the most talented Aussie acts of the 90s, and in 2011 they’re sounding every bit as good.

Image source: Stephen Katulka