Category: Reviews

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

wescarr

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

Posted on by Lauren Katulka

"Gifts of Grace" – Grace Bawden

It’s rare that a classical crossover album hits my stereo, but with Gifts of Grace, Australian teen Grace Bawden may have converted me.

This is an uplifting disc, one that’s accessible to modern audiences despite its classical undercurrent. It achieves this thanks to its excellent choice of songs. The traditional songs are represented of course. Her version of “Flower Duet” is particularly lovely, and “Amazing Grace” is stunning too. But by keeping those tracks to a minimum, the album breaks through to an audience who may have rejected something with a classical tag.

The same could be said of “Dear God.” Religious tunes are sometimes a bit difficult for secular listeners, but by giving this an album dance-pop treatment it becomes contemporary and youthful.

Grace has an angelic voice, but it’s the maturity she brings that really excites me. I was a little nervous about her tackling a song as profound as “Streets of Philadelphia,” but her treatment is surprisingly effective. Her cover of The Beatles “Long and Winding Road” is also stunning. She may not have lived the struggles of the songs she sings, but she makes us believe she has. Another highlight is “Cold Outside,” an incredible collaboration with South Africa’s Soweto Gospel Choir. To hear their soulful voices combine with Grace’s pure one is amazing.

That’s not to say that every song works. Her version of “People” pales in comparison to Barbra Streisand’s. Few people can ever measure up to this legend, but Grace lacks the conviction and gumption to come close. I was also a little disappointed by the album’s first single, her take on Icehouse’s “Man of Colours.” Perhaps it’s the falsetto, which while amazing seems to undermine the emotional grit of the tune.

But you can’t win them all, and there’s enough here to really impress me. If this is what Grace can produce at 16, I can’t wait to see what she creates in the coming years.

Gifts of Grace is in stores on September 18.

Image used with permission from AAA Entertainment

Posted on by Lauren Katulka

Ben Folds @ Opera House, Sydney – 31 August 2009

Last night I caught Ben Folds at the first of his three shows at the Sydney Opera House. It’s a strange thing to see this indie rock god perform at this opulent venue, but those contradictions are what make it so appealing.

The night kicked off with Oh Mercy, which was what I pleading for before too long. It’s not that they were bad per se, but they did bore me. My husband described them as diet polystyrene, and he wasn’t far off. The girls sitting near us said they couldn’t disagree more, but for me there was no passion and no hook. I couldn’t find anything to latch onto; both performance and tunes were bland from where we sat.

Oh Mercy could learn a lot from Ben Folds. He’s one man who will never be described as boring. He might spend most of the night sitting behind a piano, but he’s more compelling doing that than so many other artists are dancing around.

It’s funny: I’ve seen Ben Folds twice now and still only own one CD. But he’s one of those artists that you don’t need to know the songs intimately to enjoy. He’s a storyteller, and so you get sucked into that. Judging by the folks singing along around me, he seemed to play plenty of the crowd pleasers, but he also treated us to the equally well-received new material.

For me, those new songs were a highlight. I’d heard of his collaboration with novelist Nick Hornby, and was thrilled to experience some of it before the release. “Levi Johnston Blues,” based on the tale of the unfortunate chap who knocked up Bristol Palin, is destined to become an audience favourite in years to come.

Ben seemed to have a lot of fun, encouraging the audience to sing along in songs like “Zak and Sara” and “Not the Same.” With the audience seated all around the stage, Ben clearly got a kick out of the stereo effect. There was a lot of love in the room, with both Ben and the fans seeming thrilled to share this space. That’s why, even though I keep forgetting to buy the CDs, I never hesitate to snap up concert tickets.

Image source: ZUMA Press

Posted on by Lauren Katulka

The Badloves @ Lizotte’s, Newcastle – 29 August 2009

Long-time readers of my blog will know there are few things I enjoy more than a night out at the Central Coast’s hallowed venue, Lizotte’s. On Saturday I made the pilgrimage to check out its sister venue in Newcastle.

What an impressive spot. Somehow they’ve managed to bring the intimacy of Kincumber’s “cubby house” to a slightly larger space. It gave us a little more room to spread out, making the experience just a little more decadent. The waitstaff still have some work to do to replicate the excellent service we receive on the Coast, but the food was top notch. And the concert, well that was another thrill.

After blasting Polarity for much of last week, I was excited to see The Bloodpoets in the live arena. However my enthusiasm was matched by equal parts trepidation. I wasn’t sure whether my parents and their friends would warm to the heavier elements of this exciting new Aussie act. But I needn’t have worried. The beauty of producing such an eclectic album is that you can tailor your set to your audience. They toned things down a notch from the recording, embracing the poppier numbers rather than the darker rock songs. It worked. Everyone on my table raved about them, which is no mean feat considering the generation gap.

Next it was a trip back to my childhood with The Badloves. Their album Get on Board was one of the first I bought. I was just 13, and I thought Michael Spiby was the sexiest man alive. I remember being devastated when they split, as I wasn’t old enough to see them play the pub circuit. It’s rare to wait more than a decade to see a band, and my expectations were sky high. But the band met them. They’re still so tight, oozing bluesy cool. And yes, Michael Spiby still makes my heart skip a beat.

The set was largely a trip down memory lane, with a peppering of new numbers easily blending with the old. I sang my heart out to those beloved hits, “I Remember,” “Lost,” “Green Limousine,” and a rollicking version of “The Weight.” “Caroline” was notably absent, but they played so much it was hard to fault them for that. It took me a ridiculous amount of time to catch my first Badloves show. I promise not to leave it so long next time!

Image source: own photo