Tag: Sydney

Posted on by Lauren Katulka

Indigo Girls @ State Theatre, Sydney – 28 April 2011

Ordinarily I go and see bands that I’m enthusiastic about, but on Thursday night I headed to the State Theatre to discover the Indigo Girls. I say discover because aside from a few tracks my husband had played me the weekend before, I really wasn’t familiar with their music. This was a band he adores, and I was happy to discover what inspired him so. It’s exciting to learn about a band in the flesh, and I had a blast.

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.

A poignant moment came near the end of the set, when Amy and Emily welcomed a guest speaker to talk to us about the fallout from uranium weapons. It might seem strange to incorporate this element into a concert, but the crowded tables surrounding the petitions at the end of the show spoke volumes. This was a night about being moved in so many ways.

I couldn’t sing along like the faithful fans, but I could clap and cheer and I did. What a wonderful introduction to an exceptional act. Amy and Emily say they hope to be back on our shores soon; I promise to get myself up to speed before then.

Image source: Stephen Katulka

Posted on by Lauren Katulka

The Script @ Hordern Pavilion, Sydney – 8 April 2011

It’s been a year and a half since I first saw The Script live. After that show I was buoyed and excited, thrilled to see one of the greatest pop acts of our time doing their thing in the flesh. As they say in the classics, what a difference a year makes.

Let me make it clear: I still think that The Script are one of the greatest pop acts of our time. But walking out after their Sydney show on Friday night, I felt none of the same euphoria.
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.

It’s hard for me to put my finger on exactly what was missing, but I certainly didn’t feel the adulation I did the first time around. The venue didn’t do them any favours. The Hordern is like a bit shed, with terrible acoustics and a lack of real intimacy. I certainly felt removed from the band, as often it seemed like they were just performing for the squealing girls in the first few rows. I don’t expect that I’ll get the same show sitting on the sides, but I expect a band used to stadiums to play the room a little more. Perhaps after such a brilliant Cyndi Lauper concert last week, most nights are going to pale in comparison. Either way, there was something missing. A night spent with The Script is always enjoyable, but this show wasn’t quite what it could have been.

Image source: Stephen Katulka

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

Mumford & Sons @ The Enmore, Sydney – 3 August 2010

I’m dragging my feet a bit today. That’s the problem with a midweek gig when you don’t live in the big smoke. Last night I was lured to the city by Mumford & Sons; I’m paying for my lack of sleep today, but goodness it was worth it.

Before I get on to the good bits, I just want to say a few words about the flaws of this mid-week concert experience. Two support acts playing relatively lengthy sets at a mid week gig really seems a bit excessive. While the ticket told us that the show started at 7:30 pm, the main act didn’t grace the stage until 9:45 pm. Sure we were entertained in the meantime, but the crowd was clearly restless before Mumford and Sons arrived. Perhaps they were thinking about being up early for work the next morning. Promoters need to realise that when a band is playing just two headline shows in the country, punters will travel. My sister and a friend came from Newcastle to attend, my husband and I from the Central Coast. I’m sure there were also fans from Wollongong, Canberra, and other far flung corners of the state. Like us, I’ll bet they sympathise with our arrival home at 2 am, my sister’s at 3. I’ll bet we’re all a bit weary today for the experience.

If I were planning the night, I’d have cut Matt Corby. I was really looking forward to his set, having been impressed by his originality on Australian Idol, but I struggled with his performance last night. He showed himself to be an excellent guitar player, with a beautiful voice. But his music also seemed quite aimless at times; filled with wailing and devoid of melodic hooks. His use of looping technology also left me a bit cold; I’ve seen artists like Howie Day use this equipment to dazzling effect and compared to that he was a rank amateur. He might be a good songwriter, but the amount of reverb in the mics left every word unintelligible. To top it all off, he gave the crowd nothing. A few mumbled words at the end of the penultimate song just don’t cut it.

I was more enthusiastic about London based indie posters Fanfarlo. I’d never heard of the band before, but I’ll definitely be exploring more of their stuff after this gig. They reenergized my spirit with their stirring, Celtic influenced modern folk songs and eclectic instruments. Any band featuring a mandolin, glockenspiel, trumpet, and clarinet already has me on side. They didn’t let the hard task of being the second support faze them. They performed with such gusto, and I applaud them for it.

I must admit, my enthusiasm waned a bit as the minutes looking at a bare stage ticked by. But I became revved up again as Mumford & Sons greeted us with the pitch perfect harmonies of “Sigh No More.” The sublime performance brought tears to my sister’s eyes, a sign of the emotion they’d stir in the next hour or so.

I might have been ready for bed once they arrived, but Mumford & Sons were definitely worth that wait. There’s was a rare show; with perfect sound, superb harmonies, spot-on instrumentation, good humor, and one of the most passionate audiences I’ve had the pleasure of being a part of. All of the right elements were there. The album tracks went down a treat, but the new material was received just as enthusiastically. That might be a sign of how good these unknown songs were, but it’s also a credit to the receptive crowd. “Roll Away Your Stone” was rollicking good fun, with a melee of musical friends joining the band on stage for a dance. “Little Lion Man,” which appeared much earlier than I expected, saw the crowd erupt. “The Cave” was bittersweet for me; I knew this was the final song, and while I was having such a good time I wasn’t quite ready for it to be all over.

I left The Enmore in a rush of adrenalin that helped make that long train ride back to the Central Coast a little more bearable. What a wonderful show Mumford & Sons treated us with, but boy am I paying for it now.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Midnight Youth Announce Sydney and Melbourne Shows

When I spoke to Midnight Youth’s Jeremy Redmore last month he assured me his band would “tour the shit out of this country.” The Kiwi lads are starting to make good on that promise with dates announced in Sydney and Melbourne.

Fresh from their gigs supporting Birds of Tokyo, the band will play tracks from their number one NZ album The Brave Don’t Run. You can see them at the following venues.

23 June 2010 – Beach Road Hotel, Bondi (with Meow Kapow – Free entry)
25 June 2010 – The Ivanhoe Hotel, Manly (with Dark Bells – Free entry)
17 July 2010 – The Fitzroy Hotel, Windsor (Free Entry)
22 July 2010 – The Sandringham Hotel, Newtown (with Tales in Space and Nick Van Breda)
29 July 2010 – Revolver, Prahran
30 July 2010 – Karova Lounge, Ballarat
31 July 2010 – The National Hotel, Geelong
1 August  2010 – Last Band Standing Competition @ The Elephant and Wheelbarrow, St Kilda VIC

Posted on by Lauren Katulka

MGMT Plays The Metro and More on Aussie Congratulations Promo Tour

MGMT promise to be very busy on their upcoming tour. The New Yorkers will perform six pop-up concerts in secret locations around the country.

Once fans register at this website they’ll receive clues about the band’s surprise concert locations. The first ten people who arrive at the venue will be part of a special MGMT event.

If that all sounds a bit like pot luck, don’t worry. The band will also perform one very special show at Sydney’s Metro Theatre on April 6. The band will play old favourites and new cuts from their sophomore effort Congratulations, which hits stores on April 9.

This show is bound to be popular, so fans will only be able to buy two tickets each to give everyone a chance. They’ll be on sale from 9 am on Thursday March 11, but don’t delay. I’m expecting this one to sell out in no time.

Image source: DaigoOliva @ Flickr

Posted on by Lauren Katulka

Wu Tang Clan and Lil Jon Announce Sydney Show, But Will It Happen?

wutangposter

Remember we told you that Wu Tang Clan and Lil Jon would announce a Sydney show? Well it’s happened, with promoters confirming the bands will be at The Enmore Theatre on October 29.

The bad news is that we haven’t had a lot of notice, so tickets are on sale now. That’s right, now! So if you want to be at the show, I’d get to the Ticketek site ASAP.

The promoters seem confident that this show won’t fall through like Megarampage, but my reader Susie has raised an interesting point. Ghostface is named on the posters as a confirmed starter, yet his MySpace page says he’s playing in Colorado when he’s due here. Let’s hope this isn’t another one of those scheduling conflicts that hints at yet another hip hop act bailing on Oz.

Images used with permission from Chrissie Vincent Publicity and Newscom

Posted on by Lauren Katulka

Eddie Kowalczyk @ The Enmore, 19 August 2009

I was just 14 years old when Live released Throwing Copper. I was just beginning to become an angsty and obnoxious teen, and the raw energy of songs like “I Alone,” ‘Selling the Drama,” and the monster hit “Lightening Crashes” struck a raw nerve. That sort of musical mark leaves an impression that never goes away. Last night I took a trip back to that period of my life, and saw Ed (or Eddie as he’s calling himself these days) Kowalczyk do his acoustic thing at the Enmore.

But before Ed there was Leena, an earnest and authentic Aussie singer-songwriter. There was nothing outstanding about her, no flash or frills. But her performance showed that you don’t need any of that when you’ve got good songs. She performed them in acoustic mode, in keeping with the evening’s theme. Stripped back to simply a guitar or keyboard, we could focus on her words and beautiful voice. While many chattered noisily at the bar, the seated audience were captivated. Oh how I appreciate a crowd content to listen.

Just like Leena, Ed reinforced that idea that you don’t need a big band, multimedia screens, or flying pigs if you’ve got the goods. In fact, his show may have been richer for the lack of bells and whistles. I’d seen Live play twice in my life, but never quite like this. Perhaps it was the intimate surrounds of the Enmore, a world away from the entertainment centres. Perhaps it was the stripped back acoustic style. Perhaps Ed’s just in a really good place these days. But it has never been quite this good.

Ed seemed at peace and genuinely happy to spend his evening with us. He seemed very open, spontaneous, laughing and joking with the audience members and encouraging us to sing, dance, become part of it all. There’s something special about rising to your feet, united with everyone else in the room “standing up for love.”

The set was a delight. After seven albums, I didn’t expect to hear all my favourites from Throwing Copper, or “Turn My Head” from Secret Samadhi, or both “The Beauty of Grey” and “Pain Lies on the Riverside” from Mental Jewelry. I was thrilled to hear anything from Mental Jewelry, that sleeper first album, at all. “Supernatural,” the Ed Chesnutt cover from the 1995 MTV Unplugged set, was another great surprise.

After three encores Ed closed the night with another cover, Bob Dylan’s “Blowin’ in the Wind.” It was a fitting end to an evening which really felt like a coming together. Live may be on hiatus, but Ed’s keeping these songs alive in the best possible way. He tells us he’ll be back. His return can’t come soon enough.

Image source: own photo

Posted on by Lauren Katulka

Kanye West Cracks Up in Sydney

Kanye West reportedly stunned Sydney fans last night with a major meltdown!

The Celebrity Truth says Kanye restarted his song “Love Lockdown” a whopping four times. He also launched into a rant against the media, commenting that the press had “stripped him of a ‘real’ life” and comparing himself to Britney Spears.

“After a ten-minute performance of ‘Heartless,’ West disappeared from the stage for several moments, and then reappeared, and began singing ‘Love Lockdown.’

“Thirty seconds in, he abruptly ended the song, walked off stage, and instructed his band to start again. The music recommenced and when West reached the chorus, he again stopped the song and left the stage.

His confused band started the song a third time, and West began singing, before again killing the song and storming off stage. At this point West walked back on and announced, ‘I’m supposed to have another fucking outfit for this song, but they’ve taken it back to the dressing room. Let’s just do it.’

“West, who has had a difficult year during which his mother died and he broke up with his fiance, then performed the full song, before walking off stage and shouting, ‘Goodbye Sydney.’ House lights went up, and bemused fans were left wondering whether his stylist still had a job?!”

Oh Kanye. If you don’t want the press to jump all over you, it’s perhaps best not to give them things like this to talk about! Was anyone there? I’d love to hear what you thought if you witnessed this display!

Image source: Phil Romans @ Flickr

Posted on by Lauren Katulka

Howie Day @ Annandale Hotel, Sydney – 28 November 2008

On Friday I made the trip to the Annandale Hotel in Sydney to check out one of my favourite acts in the world, Howie Day.

That my country still hasn’t quite latched onto the music of this talented American is both a blessing and a curse. I’d love to see him in a venue that isn’t quite so cramped, and minus the sticky floors. But I can’t complain too much about the $22 cover charge!

An indulgent Italian meal in Leichardt kept me away from the first support act Fairy Light, but I arrived just in time for Sophie Koh. I’d heard good things about this Melbourne singer-songwriter and she didn’t disappoint. She reminded me a lot of Bic Runga, with a sweet voice and compelling folk melodies. That sounds like the formula of so many girls with guitars, but Sophie’s poetic lyrics and intricate music ensure she stays always just that little bit left of centre. Most of us didn’t know her songs, but she kept us enthralled so that by the time she played Radiohead’s “Creep” we were all happy to sing along.

It was nearly 11 by the time Howie took the stage. I must be getting old, because I was fading. I’m used to concerts that finish at 11, not start. But Howie roused me with a set that was perhaps even better than the last time he graced our shores. He seemed more relaxed this time around, willing to joke around with the audience. We were all with him, laughing as he showed us how he could speak backwards and make uncanny bird noises.

Howie often performs with a full band, but he doesn’t need one. Just as his personality is big enough to fill a stage, so is his sound. He exploits technology, creating loops which allow him to play lead guitar, bass guitar, and percussion all at the same time. It’s clever but never gimmicky, just another colour in Howie Day’s box of crayons.

Once his set was done I just about fell over with exhaustion, knowing I still had to make it home to the Central Coast before I could drop. When I returned to Central station at a little after midnight to find the next train wouldn’t leave until 1:45 am, I nearly cried. But would I do it all again to see a show like Howie’s? In a heartbeat!

Image source: own photo