Category: Reviews

Posted on by Lauren Katulka

Cyndi Lauper @ State Theatre, Sydney – 31 March 2011

This review’s coming a little late by my standards, but I figured this is one of those articles best written once the high’s faded a little. If I’d sat down on Friday I’m not sure I could have written more than “I love Cyndi Lauper so much!” Even now I’m not really convinced I’ve got the necessary objectivity, but I’m going to try.

On Thursday night I made a pilgrimage to Sydney’s State Theatre to see one of my idols, Cyndi Lauper. Like many women of a certain age, I’ve been dazzled by Cyndi for as long as I can remember. In a musical landscape that is so often beige and homogenised, she’s always been a rainbow of color, fierce and fabulous. My expectations for her live show were sky high, but I’m thrilled to say she met every one.

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.


I couldn’t be upset for too long though, because I was finally going to see Cyndi. The years certainly have not wearied this 80s icon. She bounced around the stage, dancing with wild abandon, a compelling figure with a shock of peroxide hair clad in black leather. From the first few songs we realised this show would be packed with songs from her Memphis Blues CD. I’m often put out when it seems an artist only wants to spruik their new material, but here it made perfect sense. I’ve never seen a supporting band as good as Cyndi’s. These guys are blues masters every one of them, and I wanted to hear the tunes that would show off that talent. Special mention must go to Charlie Musselwhite who blew my mind on harmonica.

Cyndi still played those songs we were desperate to hear though. It couldn’t be a Cyndi Lauper concert without a cheeky singalong in “She Bop,” a raucous extended version of “Girls Just Wanna Have Fun,” or poignant moments with “All Through the Night,” “Time After Time” and “True Colors.”

The mix of classic blues and retro pop was unusual, but that’s just what Cyndi’s always been. She’s a true musical artist who’s always rebelliously marched to the beat of her own drum. And in Sydney she performed her pants off, dancing about and jumping off the stage several times to be a bit closer to her adoring fans. How she could sing so flawlessly while delivering such an energetic show I’ll never know, but she did that too. She might be an 80s icon, but with this Memphis Blues album Cyndi’s shown her star certainly isn’t fading. It was incredible to bask in a little of that light for a while. Thank you Cyndi Lauper for one of the most enjoyable concerts I’ve ever witnessed.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“When the Lights are Low” – Earl Cole

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 Earl Cole with his third album When the Lights are Low.

The album follows the tried and true formula followed by so many artists these days; take a collection of time honored classics and remind your listeners why these songs are so special. Michael Buble, David Campbell, and Rod Stewart have all done it many times, so why should we listen to Earl?

Happily there are a few reasons to give this local version a spin. The collection of tracks here is something special, with a few well known classics sitting alongside those that may be unfamiliar to modern audiences. It’s not the same old thing that we’ve heard on every disc of this ilk, and that variety is refreshing. Clearly Earl is a man who really knows this music, rather than one who chooses to sing what has become popular.

He’s also someone who has a real passion for the material. He’s performed these songs for years, and the confidence that comes from that intimate knowledge of the music really shines through. He sings with a real reverence for the originals, never pushing the envelope or attempting to make them hip. Some may argue that you shouldn’t cover a song if you can’t bring something new to it, but I’m not so sure.

Ballads are clearly Earl’s strength, but so many of them strung together makes the album a bit sleepy in places. I wish there were more upbeat numbers like the standouts, “Orange Colored Sky” and “I’ve Got the World on a String,” to bring a bit more lightness to the disc.

If you’ve never warmed to the music celebrated by Michael Buble, David Campbell, and performers of their ilk, there’s probably little on When the Lights are Low to change your mind. But then again, I don’t think Earl made the album for you. He knows his market, and he knows the mums of Australia are going to love this.

You can listen to samples of the album and order it through Earl Cole’s website.

Image source: Earl Cole website

Posted on by Lauren Katulka

“Circus Girl” – Susanna Carman

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.

The album is beautiful in its simplicity. Most tracks only need an acoustic guitar to propel them, and even when a few more instruments are added to the mix they never overpower the tunes. There’s a time and place for a wall of sound, but these songs don’t need the extra embellishment.

With such organic presentation we can really focus on the lyrics and the stories Susanna Carman tells. “Half Of You” may be the most profound song I’ve heard about the love that flows between a woman, her partner, and her new child. The imagery of songs like “Magdalena’s Lover” and the title track is also gorgeous. As someone who gets revved by beautiful lyrics, this album really excited me.

Circus Girl is the kind of album you could easily put on as a dinner party wears down. It has just the right mellow feel, and could so easily slip into the background if you weren’t paying attention. However the more I listen to it the more I appreciate its layers and depth. Susanna Carman has created something truly special here. Look for it in stores on April 2 or preorder your copy from her website.

Posted on by Lauren Katulka

Eddie Vedder @ Civic Theatre, Newcastle – March 16, 2011

I’ve got a fairly crowded concert calendar, but the show I was most excited about was Eddie Vedder at Newcastle’s Civic Theatre. The chance to see one of my childhood heroes, the lead singer of Pearl Jam, at such a small, intimate venue was just too thrilling to pass up.

But before the man himself stepped onto the stage we got to see what expats Evil J & Saint Cecilia, otherwise known as Eliza Jane Barnes and Ceci Herbert had to offer. As my dinner ran overtime I missed about half of their set, but sadly I don’t think I missed too much. The songs seemed to run together into one dreary, dull tune. The talent was definitely there. Their voices were sweet and harmonized beautifully, and they could certainly play, but I think their songs let them down. I’m interested to see how they develop though; there’s definitely potential there.

I certainly lifted once Eddie took the stage though. He kept the house lights on as he treated us to an acoustic rendition of one of my favourite Pearl Jam tracks, “Elderly Woman Behind the Counter in a Small Town.” Those lines “I just want to scream hello, my god it’s been so long, never dreamed you’d return,” definitely had increased poignancy as I looked at this man who’d created so many songs that got me through those difficult teenage years.

He treated me to many of them last night, but this certainly wasn’t a Pearl Jam concert. Instead it was an opportunity for us to appreciate the full depth and breadth of Eddie Vedder’s career, including his notable contributions to film soundtracks and collaborations with other artists. You’d have to be a dedicated fan to know all the songs he played, but Eddie is the kind of performer whose tunes can really stand alone. You don’t need to sing along; you just need to experience them. And experience them we did up close and personal, stripped back and played with single instruments: acoustic and electric guitars, a mandolin, a ukulele. This music doesn’t need a lot of frills, and in this raw intimate mode we really got to the heart of it.

It wasn’t a perfect show by any means. Eddie forgot his lyrics several times, although his earnest apologies certainly made me forgive those mistakes. A few bad apples in the crowd also spoilt things in a few places. Honestly folks, you don’t need to yell out everything that pops into your head. When an artist has to chastise you because he’s trying to talk, it’s well past time to pipe down. Just because the man tells you he’s created the set list around requests doesn’t mean he wants to hear every one of yours. That goes double for the twit who wanted to hear Neil Young. I’m also all for people standing up and dancing around, so long as everyone else is. If you’re the only person grooving, and you ignore the pleas from people behind you, you’re also a jerk.

But those minor annoyances certainly faded as we all stood up to revel in the final song, “Hard Sun.” Eddie was joined by local legend and friend Mark Richards, and his support act Evil J & Saint Cecilia, for those final celebratory moments. That exultation and atmosphere is what live music is all about. It wasn’t perfect Eddie, but I hope we do it all again real soon.

Image source: Metal Chris @ Wikimedia Commons

Posted on by Lauren Katulka

“Into The Eyes of Those Who Sleep” – The Ovals

Over the last four years Melbourne band The Ovals has built a steady following for their brand of psychedelic rock. That attention is only bound to intensify with the release of the band’s new EP Into The Eyes of Those Who Sleep.

The band is clearly comfortable in this genre; they create the kind of kaleidoscopic atmosphere that takes us back to the mid-60s. They understand about light and shade, they know how to build and song and move us just where they want us.

But I can’t help feeling like I’ve heard it all before, like I’m listening to a band that spent too much time listening to early Pink Floyd records. Perhaps I’m a bit biased as I always found those early Syd Barrett recordings lacking, but I hear the same aimlessness in The Ovals music. It’s almost as if they’re also trying to figure out exactly who they want to be, just like Pink Floyd were all those years ago.

And similarly, I can hear great potential there. In places there’s the magic that comes from four musicians that really know how to play. I can imagine that’s only heightened when the Melbourne act takes to the stage. Into The Eyes of Those Who Sleep is a good stepping stone for a band that could be something special.

The Ovals will launch their new EP at The Cherry Bar before taking it to the other East Coast capitals. You can see them at the following venues.

25 March 2011 – Cherry Bar, Melbourne
1 April 2011 – X&Y Bar, Brisbane
8 April 2011 – Oxford Arts Gallery, Sydney

Image used with permission from Show Off Services

Posted on by Lauren Katulka

The Waifs @ Civic Theatre, Newcastle – 27 February 2011

Western Australian music royalty came together last night for one amazing show at Newcastle’s Civic Theatre. This grand old theatre was made for the intimate music of artists like The Waifs and Mama Kin, and the attentive crowd lapped it up.

I put Mama Kin together with The Waifs in my introduction because her set never felt like mere support. I’m used to crowds chattering away as support acts desperately try to capture the attention of someone in the audience, but not last night. All eyes were transfixed on this spirited performer, who so effortlessly fused blues, roots, folk, and soul. The crowd even complained when she announced her last song. She cheekily told the audience they needn’t pretend they were there to see her. A fair call perhaps, but that doesn’t mean they weren’t savouring her every moment on stage. I know I was; hanging onto every lyric, singing and clapping to the beat when she encouraged us to, laughing at the stories that punctuated the songs. Mama Kin definitely made a few new fans last night, and I’m amongst them.

As The Waifs began their set I was again struck by how attentive and receptive this Newcastle crowd was. Just as Mama Kin was supported, so were The Waifs’ new songs. Their set drew heavily from their soon-to-be-released new album Temptation, but the audience didn’t seem to mind one bit. Of course songs like “Lighthouse” and “London Still” received a rapturous reception, but the crowd patiently waited until they came, content to let the new material wash over them.

Of course, all credit can’t be given to the crowd. The Waifs’ new material also stacks up against their familiar hits nicely. The songs tell stories which suck you in, compelling you to listen even if you don’t know the words. Add in the vivacious personalities and exquisite harmonies of sisters Donna and Vikki, and the gorgeous meshing of the band’s instruments, and you’ve got an act that you’d happily hear perform anything they desired.

The Waifs are one of those bands I’d always meant to see but never quite gotten there. After enjoying a night in their company I can see why their fans are so passionate, and why they return for each and every tour. Next time I’m sure I’ll join them.

Image used with permission from Stephen Green Consulting

Posted on by Lauren Katulka

Drawn From Bees Take on North America

Like many Aussies I wasn’t familiar with the music of Drawn from Bees, but this Brisbane band is making some real waves in North America with dates approaching at Canadian Music Week and South by Southwest.

Their EP Cautionary Tales for the Lionhearted will get an American release on March 1, which is sure to elevate their profile here and abroad. I gave the recording a few spins this afternoon and found it to be really mature, sophisticated stuff. The band harmonizes beautifully, and creates an amazing atmosphere which reminds me of Radiohead without the slit-your-wrists factor. While there’s certainly some darkness here, it never feels as gloomy and labored as the music the British band typically produced. The jangly guitars and rich melodies give these songs a warmth that elevates them out of the doldrums. I particularly loved “Stand Against the Storm,” which has shades of Talking Heads to it, and “Picture Show,” which builds so beautifully to a stirring crescendo.

Tunes from the EP and a few extras are available through Drawn From Bees’ MySpace page. If you like what you hear, make sure you check out what the band can do in the flesh at the following shows here and abroad!

18 February 2011 – 34B (above Spectrum), Sydney
5 March 2011 – The Manhattan Room, Philadelphia
6 March 2011 – Howlers, Pittsburgh
7 March 2011 – Euclid Tavern, Cleveland
8 March 2011 – Pearl St Grill, Buffalo
10 March 2011 – Canadian Music Week @ Bread & Circus, Toronto
12 March 2011 – Canadian Music Week @ Horseshoe Tavern, Toronto
13 March 2011 – Aussie BBQ @ Bowery Ballroom, New York
15 March 2011 – Cactus Instore, Houston
16 March 2011 – SXSW Party @ International Psych-Out, Austin
16 March 2011 – SXSW Party @ Aussie’s Bar & Grill, Austin
17 March 2011 – SXSW Party @ Dart International Music House, Austin
20 March 2011 – Dan Electro’s Guitar Bar, Houston
21 March 2011 – Reggie’s Music Joint, Chicago
22 March 2011 – Elbo Room, Chicago
24 March 2011 – Hennessey’s Hooley House, Boston
25 March 2011 – Hank’s Saloon, Brooklyn

Posted on by Lauren Katulka

“Double Crosser” – The Level Spirits

The Level Spirits first came to my attention last month with their fantastic new single “Take It Out.” Now that I’ve given their debut album Double Crosser a few spins, I’m thrilled to discover that this killer cut is no fluke.

The Level Spirits deliver good old-fashioned rock and roll. There are elements of blues, country, and rockabilly in the mix, which only add to the fun. Rather than sounding like a musical throwback, The Level Spirits present themselves as retro cool.

Lead singer Molly Jean Morrison anchors The Level Spirits’ contemporary image. She cuts a striking image with her flame-red hair, ballsy vocals, and sassy delivery. It’s hard to believe that The Level Spirits is Molly Jean’s first band, as she sings with a natural ease that suggests years in the biz. Her time in the world of burlesque has clearly served her well; she brings a raw sexuality to the band that’s really exciting.

The raucous opener and title track “Double Crosser” grabs you by the throat, demanding you to listen to what’s coming up next. And what follows is the kind of music you might expect to hear in a smoky juke joint. It’s always upbeat, but some deliciously dark lyrics add an extra layer. “Psycho For Your Love” and “Not as Much” were real highlights for me, but I daresay I’ll find a few more favourites the more I listen to the record.

The only disappointment for me was the closer, “Taste of the Same.” While it’s a solid track, it feels so much more modern and, dare I say it, generic than what had come before. I’m of the school of thought where albums should be whole, cohesive units, and this song just didn’t gel with the rest of the tunes.

Still, there’s an awful lot to dig about Double Crosser. There’s so much life to it, I’d love to see what these guys can do on stage. Sadly they’re only playing in Melbourne at this point, including their album launch at The Tote this Friday. If you’re a local, I strongly suggest you check it out!

Posted on by Lauren Katulka

“Mighty Big Light” – Steve Parkin

I didn’t know a lot about Steve Parkin when he joined Josh Pyke, Kav Temperley, and Kevin Mitchell in Basement Birds. And so when his solo album Mighty Big Light passed my desk, I expected the sort of mellow and introspective acoustic tunes this super group delivered. What I got instead was an album much richer, and much more interesting.

I really liked Basement Birds, but their music was so low key that it almost faded into the background. I was thrilled to see Steve Parkin take things up several notches here. It opens with the pared back “Lost Highway,” but then takes us to much bigger places. The soaring string section makes “California” feel a bit more epic, and “I Won’t Be” has the kind of grandeur I’d expect from 1970s Pink Floyd.

The eclectic tunes can make the disc feel a bit uneven at times, more like a disparate collection of songs than a cohesive unit. But on the flip side, we never get bored! Steve Parkin’s no musical newcomer, and his experience informs what each song needs. Listening to Mighty Big Light feels like a journey; you can’t always predict what’s coming up ahead, but it’s still a great ride.

I instantly liked Mighty Big Light, but I have a feeling I’m going to grow to love this complex disc the more I listen to it. Look for it in stores this April.

Image used with permission from Riot House Publicity