The Bloodpoets impressed me with their album Polarity last year, so I was excited to see what they’d serve up with their latest effort, the EP Wings.
The Queensland outfit has always been eclectic, playing with light and shade, standing somewhere between indie rock and commercial pop. The gulf between these two extremes seems more pronounced on Wings, a disc that starts with sweetness and ends with real grit.
When I first slipped it in I mused that this didn’t sound like The Bloodpoets I’d first met. They weren’t rocking quite as hard, and instead were focusing on the melodies and pop hooks. That could easily sound like a criticism, but the band still wasn’t bowing to the demands of top 40 radio. They hadn’t lost any of their individuality; they were just taking a lighter touch. “Sunny Day” really excited me with its playful bass groove and irresistible brass strains. I also loved its follow up track “Next Year,” which I can imagine sounding right at home on radio. It feels familiar from the first listen, not predictable but warm. I adored the depth that the ringing bells gave this pop gem.
“She Feels It” marks a shift in the EP, a move away from the sunshine and into darker territory. It felt more like The Bloodpoets of old to me, although it has an epic quality that I haven’t heard from the band before. The remaining tracks also show the band’s grittier side, almost as if they want to remind us that they’re never going to completely lose their edge.
Wings feels like The Bloodpoets are checking in with us, showing the directions they’re taking and giving us a teaser before the next full length recording. It’s exciting to see them stretching out every which way and evolving as a band. I can’t wait to see what comes next.
Image source: The Bloodpoets Facebook page
Suffering from a bad case of Mondayitis, I needed something to ease me back into my working week. I found it in Until Morning Comes, the delightful sophomore effort from Melbourne singer-songwriter 
You might remember me 
But before Amy and Emily took the stage we were warmed up by Henry Wagons. And warm us he did with his quirky alt-country tunes. He was without his band, with only an acoustic guitar to accompany him, but his big personality filled the stage. My husband wasn’t too sure what to make of him at first, but by the time Henry got to his closing song “Willie Nelson” he was joining in the chorus.
There was less quirk to the Indigo Girls but a similar raw energy. This is music the way I like it best, without frills or fuss, back to basics. With only acoustic guitars, a mandolin and harmonica, and two sublime voices the American girls wowed me. I understood why they’re such legends in their home country, and wondered why they’ve never really caught on here. I felt privileged to be exposed to their exceptional songs and musical prowess, like someone had let me in on a secret. I have my husband to thank for that, and I do.
I’ve been a 
My mediocre night started with Tinie Tempah. I have no clue who thought it’d be a good idea to pair the inoffensive piano pop of The Script with the stylings of this brash Brit rapper, but it was a weird mix, to say the least. I hated his music, but was amused by his arrogant on stage persona. There’s something very contrived about a performer who demands crowd participation. People will wave their hands in the air and sing along if they feel like it; you really shouldn’t need to push it. I also feel a bit cheated when a performer merely raps over the work of other musicians, but that might just be me. The Video Hits loving crowd on the floor seemed to lap up his set, but I spent it giggling and cringing at his over-the-top antics. At least I was entertained.
Hearing the familiar piano driven music of The Script was a welcome respite from all that hip hop garbage. The Irishmen delivered a really solid set featuring tunes from their self titled debut and their sophomore effort Science and Faith in equal measures. They interacted with the crowd, and I couldn’t help melting every time they told us how much they appreciated our support and country. We sang along loudly to the big hits, no prompting needed. See Tinie? We’ll sing if we want to.
But before she graced us with her presence it was Casey Donovan’s turn to charm us. I’ve been a fan of Casey’s since her Australian Idol days, and I was thrilled to see she’s only gotten better. Accompanied by a single acoustic guitar she delivered a stunning stripped back mix of covers and original material. Casey’s always been a master at delivering a song, but I’m thrilled to see her stage presence now matching her delivery. She’s come a long way from the quiet teen that wowed us in Idol. She bantered easily with the crowd between songs, charming us even more with her confidence. I was desperate to see Cyndi, but also disappointed to see her all too short set end.
Let’s Make ’em Like That Anymore, the debut album from Melbourne quartet 
Mothers Day mustn’t be too far away, as we’re starting to be bombarded with the kind of mellow music designed to make mums everywhere swoon. Adding his voice to the mix is Perth crooner 
After listening to Susanna Carman’s new album Circus Girl several times, I’m thrilled the New Yorker decided to settle here in Australia. She creates folk music that is truly stunning, with touches of Joni Mitchell and Shawn Colvin, along with her own sweet, unique voice.