Category: Reviews

Posted on by Lauren Katulka

Tori Amos @ Opera House, Sydney – 16 November 2009

There are no casual Tori Amos fans. She is one of those rare performers who inspires passion, whether it’s negative or positive. Love her or loathe her, there’s no ignoring this flame-haired goddess. Her Sinful Attraction tour winged its way to Sydney’s Opera House last night, and I was thrilled to go along for the ride.

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The night opened up with the soulful sounds of Ray Mann. This young man with the old-school soul sensibility and his electric guitar was a strange choice for supporting Tori. She’s so unique that it’s always hard to find the right fit. The restless crowd told me though that he probably wasn’t it. It’s a shame because his songs were gorgeous, and his personality just as sweet. He told us that tonight, playing for his home audience at the iconic Opera House, was the best night of his life. Clearly he didn’t mind the chatty crowd and was just happy to play for those, like myself, who were happy to listen. I think he’s going to be embraced by the crowd on the Al Green tour he’s supporting next year. I have a feeling we’ll be hearing a lot more from Ray, which is a very good thing.

A roar of applause, a standing ovation, and then a hush as the previously talkative crowd gave itself over to the magic of Tori Amos. She appeared strong yet feminine in her black military jacket-style dress. It was slit at the sides, allowing Tori to sexily peek out her shapely legs clad in sparkly gold tights. She writhed on her piano seat with abandon, giving herself over to the power of her music. Put simply, she is a vision. I wish I’d known the Opera House wasn’t enforcing their no camera policy! As it is, you’ll just have to look at another one from the tour.

This was my third Tori show, and probably my favourite. A Tori set list is always surprising. She’s one of those artists who rarely plays the same song back-to-back. There are no guaranteed singles ready to make their appearance, no guarantees at all really. That may unnerve or even disappoint other music fans, but not Tori’s. Remember, she’s the artist who either love or loathe. And the people that love her, love everything she does. The favourite songs you hear are like gifts, beautiful unexpected gifts, and the ones you didn’t warm to on the recordings become so much richer for seeing them live.

This set list was more surprising than most though. Tori was here to promote her new album Abnormally Attracted to Sin, but you wouldn’t know it. “Lady in Blue” made an early appearance as an opener, and “Curtain Call” popped up near the end, but for the most part the new album was forgotten. For me, who’s often wished for more older material in her sets, this was a joyful blessing. Instead we were treated to more tracks from Scarlet’s Walk than any other, and the surprising addition of favourite B-sides like Here. In My Head and Take To The Sky. The latter was made more special with a little “I Feel the Earth Move” in the middle. I’d just bought Carole King tickets that same morning, so I gave an extra loud cheer.

There were so many highlights. “Silent All These Years” was one of those really important songs as I was growing up, and I gasped when I heard its familiar piano introduction. “Leather” was so deliciously sinful. Her cover of “Over The Rainbow” was one of the most moving live performances I’ve ever witnessed. “Merman” and “Putting The Damage On” were the perfect pair to end the perfect performance.

Tori told us that while every place you play as a performer is magical, there’s a little extra magic in taking to the stage at the Opera House. Clearly she loves to play here, and that showed in an amazing night of music. I feel truly honoured to have witnessed it.

Image source: ZUMA Press

Posted on by Lauren Katulka

John Mayer @ The Metro, 5 November 2009

In 2001 a fresh-faced guitar prodigy stepped onto the global stage and wowed us all. Eight years later it seems most people are more concerned with who John Mayer’s dating, and how he’s treating them than the music he makes. But not the crowd at The Metro on Friday night. sipaphotostwo533887-NY-KEEP-A-CHILD

The packed house was made up of fan club members, their friends, some lucky Rove watchers, and the inevitable press. In short, these were people who didn’t care whether John Mayer was a love rat or not; they just loved him. I admit, I fall into the fan club members camp. Perhaps that makes my experience of the show a little biased, but what review isn’t to some degree?

How wonderful to return to the very place I first saw John Mayer play all those years ago. How wonderful to experience that with such a lovely crowd: one happy to stand without pushing or shoving, one who listened politely to the support act and who sang along enthusiastically to the main act.

That support act was the wonderful Georgia Fair. They humbly told us that this was the biggest audience they’d ever played to, but something tells me that won’t be the case for long. These guys are technically flawless, with compelling harmonies and gorgeous melodies. The combination of acoustic and electric guitars, unadorned by other instruments, worked a treat. The stripped back treatment drew us all in, despite most of us not knowing more than “Picture Frames.” They’re still a little green, but it’s only a matter of time before they gain some confidence and develop the stage presence to match their natural talents. I hope to see a lot more of these guys.

We loved Georgia Fair, but we were really there to see John. I was so keen to hear the new cuts from Battle Studies, but also hoped to hear some old favourites. John delivered on both scores, with a healthy mix of new material, tracks from his previous albums, and even a couple of covers. The first, Robert Johnson’s “Crossroads” features on Battle Studies, but for those of us who haven’t snuck a listen of the soon-to-be released CD it was simply a fantastic blast from the past. Later on, his brilliant acoustic cover of Tom Petty’s “Free Fallin’” made a well-received appearance. The new songs were all sensational. Again, there’s that bias creeping in, but I can’t wait to get my hands on a copy of this disc. The man still knows how to craft a pop-rock gem.

While I was thrilled to hear the new songs, I was just as excited about the older tracks. John could have easily played all the singles, but his careful and unexpected choices were perhaps more rewarding. There was no “No Such Thing,” no “Body is a Wonderland,” and no “Clarity.” Not that he forgot about singles altogether, with “Why Georgia,” “Bigger Than My Body” and “Daughters” all receiving roaring receptions. But it was the songs we weren’t sure we’d hear that really excited us. Watching two-thirds of The John Mayer Trio rip into “Who Did You Think I Was?” was a real delight. “I Don’t Trust Myself (With Loving You)” was another unexpected joy. And how proud I felt when John handed the vocals to us in “Gravity,” and told us that he loved us when we did such a great job.

Artists tell crowds that they love them all the time, but there was something different in this gig. I’ve seen John Mayer perform more times than I can count now, but I’ve never seen him quite like this. He was so very giving, from the songs he played to signing a few autographs during the show. He’s always great, but this time he was incredible. He told us of the dark place the media scrutiny of the last few years left him in, but there were no black clouds here. In rediscovering the music, it seems a weight’s been lifted from Mr Mayer’s shoulders. It was a joy to watch that. Concerts this special are rare, and I’m savouring the afterglow.

Image source: Newscom

Posted on by Lauren Katulka

"Live at the Hi-Fi" – Kate Miller-Heidke

With Curiouser still sitting pretty in the Australian top 20, Sony has decided to drop another Kate Miller-Heidke CD. Cannily released to coincide with Kate’s current Australian tour, Live at the Hi-Fi Bar showcases tracks from both her recent chart-topper, her breakthrough debut, Little Eve, and her earlier EPs.

The Video Hits crowd may be disappointed at the absence of “Last Day on Earth,” but “Out and In” and “Space They Cannot Touch” are just as poignant and beautiful. I must admit, I’m not familiar with Kate’s early releases, but these tracks sucked me in with the first listen. “Dreams” is delightfully demented, and “Caught in the Crowd” seems even more touching in the live arena. A raucous cover of the Australian classic “You’re The Voice” gets the whole crowd singing along, while her tender treatment of Empire of the Sun’s “Walking on a Dream” is breathtaking.

There’s a lovely raw feel to proceedings. There’s all the spontaneity and organic energy that any good concert should have. That vibrant spirit is beautifully captured on the CD.

For those who only just discovered Kate’s music with the mainstream success of Curiouser, this is a great introduction to what came before. For those who were already in the know, it’s an excellent snapshot of this talented Aussie’s career to date. If you’re contemplating seeing Kate Miller-Heidke on her current tour, one spin of Live at the Hi-Fi should help you make up your mind.

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

Joshua Radin @ Manning Bar, Sydney – 22 October 2009

On Thursday night I headed out to the Manning Bar to catch American singer-songwriter Joshua Radin. It was a show I approached with a strange mix of joy and trepidation.

I fell for this gorgeous guitar boy somewhere around the time he performed at Ellen DeGeneres’ wedding to Portia de Rossi. He appeared on the talk show queen’s program and it was instant. I was sucked into his beautiful words and mellow guitar strumming. I ordered his first album, and pre-ordered the second which was yet to be released from the United States. The chance to see him here on my home soil was one I wasn’t likely to pass up.

But boy I hate those sweaty bar gigs. I hate standing up for hours on end. I hate the heat. And generally I hate the crowds, who seem far more interested in chatting to their mates than hearing the band. When the show was changed from an intimate adults-only gig at the Oxford Arts Factory to a larger all ages show at the Manning Bar I seethed. I imagined all the young girls squealing over gorgeous Joshua.

But strangely enough, none of that went down. Yes it was hot and sweaty in the Manning Bar, but the crowd was one of the best I’ve ever had the pleasure of being a part of. This was probably due to the decision to keep all alcohol outside. While I was initially a little annoyed to make the choice between seeing the band or enjoying a cold beer, I came to appreciate the segregation. Those of us down near the stage were there because we wanted to be. We were quiet and attentive, and the performers loved it.

Sadly I missed the first act. My ticket said the show started at 8, yet their set was all over and done by then. Honestly, I can’t even remember the name I saw on the posters. If I did know it, I’d give them a plug to apologise for my missing their act.

I did catch Kyu though, two very cool girls creating the kind of ethereal music that wouldn’t be out of place at a Tori Amos concert. It had that same kind of magical vibe; a little bit banshee-like with wailing and drums, yet strangely compelling. I was initially sceptical but they sucked me in pretty quickly.

Then Joshua took the stage, and had me at hello. His set drew from both studio albums and his latest which is yet to be unveiled. The newer tracks were less intimate and more rock, but no one seemed to mind this change in direction, or the unfamiliar tunes. We also didn’t mind hearing all of the stories about the inspiration for his songs. How refreshing to be in a crowd that didn’t mind an artist pausing to reflect. He clearly appreciated it too, thanking us with all the sincerity of a person genuinely pleased to be playing for such a warm audience. This wasn’t the well-rehearsed shtick of a performing veteran; it was authentic joy at us hearing his words and embracing his songs.

The set included the usual suspects: “Today” was the song he sang at Ellen’s wedding, and “I’d Rather Be With You” got a nice run in a recent Home & Away commercial. But you never really know what you’ll get when a performer hasn’t released anything in our country. I was thrilled to hear my favourite song, “You Got Growin’ Up to Do.” It was originally recorded as a duet with Patty Griffin, and without a female voice on hand I definitely didn’t expect its inclusion in the set. What a thrill. I also loved his stripped back take on “Sky,” a request he happily took from a girl near the front row. How I love an artist who’s willing to play for the fans who brought them here.

Joshua hasn’t left yet, but he says he’s already anticipating a return journey. I’ll definitely be there to see him, even if I have to stand up all night in a sweaty pub to do it. Some performers are just that good.

Image source: own photo

Posted on by Lauren Katulka

"Looking for Vertical" – Gareth Skinner

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Gareth Skinner’s experience in composing film scores shines through his sophomore studio album, Looking for Vertical. It’s an album of rich textures which can only be described as indie. That often seems like a cop-out term, but this album truly defies neat categorisation.

Gareth thrives on strange marriages. After the electronic early tracks, “More Than What” comes like a bolt from the blue. It’s a beautiful cello driven ballad, stunning it its stripped back approach. That raw treatment is the all more stark after all the technical wizardry that came before. Strings are used again in “Intermission,” but there’s no classical inspiration this time. Instead the cello screeches, almost discordantly, to keep harmony with the electric guitars. “Uplifting” is the most obvious choice for a film score, a track which would surely be played when the hero triumphs. But that’s just one layer too. Over that inspiring soundtrack comes the ramblings of a passionate preacher. It seems at odds, yet on an album like this the strange juxtapositions are almost expected.

Looking for Vertical is an album which refuses to fit into a box. It’s brave because of that, but also a little alienating. An album featuring instrumental music, spoken word pieces, and traditional vocal driven tracks shouldn’t work, but there’s a strange beauty in the weirdness. Looking for Vertical will never become one of my go-to albums. It’s too challenging for that. But Gareth Skinner’s vision and daring approach are to be applauded.

Looking for Vertical is available for pre-order at Rubber Records.

Image source: Rubber Records

Posted on by Lauren Katulka

The Script and Wes Carr @ The Enmore, Sydney – 26 September 2009

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On Saturday my husband and I headed into the city to catch The Script at Newtown’s Enmore Theatre. With reigning Australian Idol champ Wes Carr on supporting duties and a lovely intimate venue, this was one gig we were really looking forward to.

From the first moment the night didn’t disappoint. Clearly solid touring duties since winning the Idol crown haven’t taken their toll on Wes. He was every bit as energetic as I remembered, and he could sustain it for much longer than we saw on the Idol stage. This guy is a firecracker who knows how to rock. The set drew from his original material rather than his Idol covers, and it was all the richer for it. The Way The World Looks has spawned enough singles to keep the crowds happy, a good thing when you’re playing for a largely teenage audience.

They loved Wes, but they went nuts for The Script. I’m not sure I’ve seen anything like this since I followed Human Nature in the late ‘90s. There’s that same boy band hysteria surrounding them, even though their songs have more cred than a Backstreet Boys smash. The Script might be unashamedly pop, but the heart which underpins their songs separates them from the rest. Their debut album is one of those discs I’ve played to death this year.

Experiencing the songs in the live arena took them to the next level. The band had so much energy, and the crowd really responded to that. Or perhaps it was Danny O’Donoghue and his sexy black T-shirt whipping them into a frenzy. Either way, there was a lot of love in the room.

One of the great things about seeing a band promoting their debut album is that you know all the songs. It encourages the kind of sing-alongs we enjoyed in “The Man Who Can’t Be Moved.” I’ve never been a fan of “I’m Yours,” believing it to be a bit of romantic fluff, but stripping it back in the live arena with a lone acoustic guitar brought out its true beauty.

The Script closed the night with a cover of David Bowie’s “Heroes.” Danny sang it out, jumping around and waving an Irish flag with the word Sydney scribbled on it. The band thanked us so much for coming out and assured us that we were the best crowd of the tour. They probably say that every night, but it felt genuine. Clearly we left an impression on The Script, but it may not be as big as the one they left on us.

Image sources: own photo; Total Assault

Posted on by Lauren Katulka

"TownHallSteps" – TownHallSteps

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Sydney’s TownHallSteps are a band on the brink of making a real impression. Their self-titled debut album shows a band with a lot of promise, who are still trying to figure themselves out.

On popping the disc into my CD, I thought I was in for a chill-out dance album. The opener, imaginatively titled “Intro” is atmospheric and electronic. It’s an accomplished track, but if its job is to introduce the band it doesn’t do a very good job.

What follows is a disc which seems to have a bit of an identity crisis. On one hand there are singalong punk-pop anthems popularised by the likes of Good Charlotte, Fall Out Boy, and Panic at the Disco. TownHallSteps don’t bring anything new to songs like “Still Alive,” “Disco,” and the first single, “Anywhere But Here.” Although having said that, the tracks are solid, equal to anything the more seasoned bands like them have produced. They may be a little formulaic, but they’re a lot of fun.

It’s when Town Hall Steps walks to a different beat that things get really interesting. “Holding On,” “The Direction,” and the orchestral “Trouble Little Girl” show much more depth. They’re anchored in heart and passion, and that makes them some of the strongest tracks on this album. I’m also in love with the band’s sweet rock anti-love song “Jessie.” It may not be as dramatic as the other songs I’ve mentioned, but again it shows the band’s individuality.

TownHallSteps shows great potential with their debut album. They’ve intrigued me. I look forward to hearing what comes next.

Images used with permission from AAA Entertainment

Posted on by Lauren Katulka

"Holy Smoke" – Gin Wigmore

Kiwi expat Gin Wigmore teased us with the release of her EP Extended Play. Now with her debut album Holy Smoke, Gin shows us why she’s one of the most intriguing musicians on the local scene.

The album toes that fine and difficult musical line, remaining accessible while never sacrificing its emotional heart. Recorded in America’s famed Capitol Studios with The Cardinals, it’s no surprise that it sounds incredibly slick. But Gin’s distinctively rasping vocals ensure it never feels superficially polished.

Holy Smoke was written after an intense relationship break-down. While those emotions colour the tracks, they never become too bogged down in the drama. The first single “Oh My” shows the way Gin can defiantly deliver lyrics about being beaten in the game of love against energetic hand-clapping melodies. Gin allows herself to be vulnerable in the fragile closing tracks “Golden Ship” and “Dying Day,” but for the most part this recording is all about strength and bluesy grit.

The brassy soul sounds remind me a little of Duffy, Amy Winehouse, and other British singers of that ilk, but that’s just the start of it. There are more colours in there: blues, jazz, pop, rock, and even a little reggae in the laidback “I Do.” Holy Smoke is an excellent album from one of our brightest new stars.

Holy Smoke hits stores on September 25.

Image source: JB Hi-Fi; The White Agency

Posted on by Lauren Katulka

Bimbadgen Blues, Roots, Funk, and Grooves @ Bimbadgen Estate, Hunter Valley – 12/9/09

On Saturday I made my second trip out to Bimbadgen’s annual Blues festival. It was a different experience to the last in more ways than one.

Firstly, the festival had a bit of a makeover this year. It’s now going under the name Bimbadgen Blues, Roots, Funk, and Grooves, but the changes aren’t simply about the name. The focus shifted to younger, more contemporary artists playing music that went beyond the traditional blues. If the crowds were any indication, the organisers are onto a winner with their vibrant new approach. Despite Coaster playing an hour away, the festival attracted plenty of 20-somethings keen to have a good time.

Unlike last year’s festival, the weather was on our side. While I left the festival soggy in 2008, the sun came out for an unseasonably warm day. It was lovely to bask in the summery conditions, but it made the lines at the bar seem all the more unreasonable. I’ve been a regular visitor to Bimbadgen Estate during A Day on The Green concerts and festivals, but I have never seen a line like this. It snaked all the way down the hill. I hoped to see it get shorter as the day wore on, but no such luck. When I eventually gave in and jumped onto the end of the queue, it took me an hour to get to the front. One bar simply wasn’t enough for a crowd of this size on such a hot day. Announcers apologised for the inconvenience, so I can only hope the situation will be remedied next time around.

While alcohol and sunshine are important elements of any winery concert, the real drawcard is the music. My sister and I parked ourselves near the vineyard stage just in time to see Dialectrix. I’m not the greatest fan of hip hop music, but I was still impressed by the freestyling skills. Anyone that can rap about chardonnay and their loyal fans down the front gets my vote.

The dancing girls near the stage got some company when Ash Grunwald appeared. Enthusiastic fans seemed to come from everywhere, desperate to get a little closer to this acclaimed blues and roots artist. This was music which got back to the blues sounds I love: earthy and primal with squealing guitars and dirty melodies. But I was faced with a dilemma. With so many folks dancing near the stage, surely this would be the best time to join that dreaded drinks queue, right? And so I did. It was still long, but not as terrible as I’d seen it before. Sadly I arrived back to my seat just as Ash was wrapping up his set. What I heard sounded fantastic, but I’d have loved to see more of it.

Settled down with my bubbly, I could really focus on Blue King Brown. On seeing them support Santana a few years ago I remember thinking they were technically amazing but lacking something. The tunes seemed repetitive, running into each other with little differentiation. They needed some hooks or melodies to draw us in, something to match the energy. I still felt that, but I couldn’t deny the effect they had on the crowd. Their performance was theatrical and vibrant, and while it wasn’t my favourite of the night it was compelling nonetheless.

After the buzz generated by Ash Grunwald and Blue King Brown, the mellow indie tunes of The Panics seemed like a little bit of a letdown. They were wonderful, but perhaps not the best choice of headliner. At least, that’s what the crowds leaving in droves led me to believe. I couldn’t fault the band, but they just didn’t have the electricity the audience seemed to want. It’s a shame, because they deserved a much better reception than this.

Bimbadgen Blues, Roots, Funk, and Grooves showed a lot of potential in its new guise. Not everything went smoothly, but I’m sure we’ll see those creases ironed out next year as the festival goes from strength to strength.

Image source: Stephen Katulka

Posted on by Lauren Katulka

"The Knight" – Khan Manuel

With Tommy Emmanuel spending most of his time in Nashville these days, Australia is crying out for a guitar virtuoso. With his album The Knight, Khan Manuel steps up to fill those very big shoes.

Just like Tommy, Khan blends genres to create instrumental guitar tracks that combine the contemporary with classical flair.

The album starts out high energy rock numbers in the vein of Joe Satriani and Steve Vai, before moving into more mellow jazz territory. We see the greatest electricity in “Down ‘n’ Dirty.” It’s a straight-up rock number which is recorded live to capture its spontaneity. I cringed at the chat-up banter that preceded “Smooth Talk,” but once those voices faded away it lived up to its sexy moniker.

While Khan does rock well, the more mellow numbers were a little more my speed. “Flamenco Nights” is the turning point, with its traditional Spanish tones acting like a breath of fresh air after the grittier rock tunes that came before. “Midnight Jazz” feels like 1970s George Benson, which is a very good thing indeed. “Wedding Song” is the perfect closer, a romantic piece which is every bit as dreamy as its name suggests.

Khan Manuel is one amazing guitarist, and his talent and passion for his craft is evident in The Knight. I can’t wait to see what comes next.

Image used with permission from Khan Manuel