Author: Lauren Katulka

Posted on by Lauren Katulka

David Campbell @ Belmont 16s, Awabakal Country/Belmont – 20 September 2024

This blog tells that on Friday night I saw my ninth David Campbell show. And I’m not counting seeing him in “Dream Lover” and on the bill of George Michael and Disney tribute nights. So what keeps me coming back show after show? It’s just always a great time. It’s as simple as that.

He’s such a successful TV host that I think some people forget what an incredible singer he is. As that career in front of the camera has taken more time and focus, it seems even David questions it. He said that he wondered whether people would still come to the shows. Looking around at the beaming faces in the packed suburban auditorium, I think he got his answer.

After so many years in the recording studio and on the stage, David’s got such a wide catalogue of crowd-pleasers to choose from. The hits came thick and fast, peppered with banter from this charismatic entertainer. No matter when you came to his music and no matter your favourite era, you would have left satisfied. My parents were thrilled for the Good Lovin’ songs. My dad sang enthusiastically along to “Jackie Wilson Said,” a track from his favourite singer Van Morrison. My mum was instantly transported back to being a teenager, when her eyes locked with a singer performing in Battle of the Bands, when he flawlessly sang “How Can I Be Sure.” My husband and I were thrilled his ’80s album Let’s Go, far from a commercial success, wasn’t entirely forgotten. Most of DC’s fans probably don’t remember the decade as fondly as we do, but they couldn’t begrudge us spirited covers of “Come on Eileen” and “Tainted Love.”

We learned pretty early that DC’s mind was half on the Swannies game, but it certainly didn’t show in his performance. In fact, it seemed to spur him on. He insisted that he wouldn’t leave until the game was done, and when they did win it gave a little extra excitement to “Shout.” He must have sung that Johnny O’Keefe classic hundreds of times, but never felt quite as jubilant as in that moment.

David said many times that it had been far too long since he played for us all and thanked us so warmly for our warm reception. Hopefully that means he won’t leave us waiting too long for his return. I’m definitely ready to bring my show tally into the double digits. David will wrap up his current run of Good Lovin’ & More shows when he plays Twin Towns Services Club in Bundjalung Country/Tweed Heads on November 2.

Image source: own photos

Posted on by Lauren Katulka

Dan Howls Wows Me With “Low”

Dan Howls’ latest single “Low” is one of the coolest blues tracks I’ve heard. I enjoyed its sultry opening, but it only gets better when it gets into third gear around the two-minute mark. This is a prime example of a song that knows exactly where it’s going. Just press play, give it time to warm up, and enjoy the ride.

“This release was written about a time we were out in the desert at a festival, there was a giant storm rolling in, and we knew our whole camp and tent was about to be blown away,” Dan recalled. “We started digging trenches around our little picnic spot, and that was about as much as we could do. We lost our whole tent that night. It’s really about accepting things, and not dwelling on things you can’t control, and changing the things that you can.”

Dan Howls’ might just be one of WA’s best kept secrets. If there’s any justice, this track will be the one that gets the country talking.

Photo credit: Treh Ivory

Posted on by Lauren Katulka

Samuel Gaskin and Kee’ahn Collaborate on “Find My Way Back”

Naarm/Melbourne-based talents Samuel Gaskin and Kee’ahn have joined forces for “Find My Way Back,” a dance-pop number that pays tribute to the people who’ve paved the way for these two artists. Samuel channels their Māori and Nigerian roots while Kee’ahn celebrates their Yalanji, Jirrbal, Badu islander heritage.

“For me ‘Find My Way Back’ is a love letter to the Ancestors and the parts of ourselves we may have shut down or been disconnected from,” Samuel explained. Kee’ahn added that the song is “an invitation to accept ourselves where we are at so that we can have the courage and self belief, to chase after what feels like home.”

I love a good collaboration, and this is one of the best I’ve heard in a while. Make sure you turn it up!

Photo credit: Michelle Grace Hunder

Posted on by Lauren Katulka

Odlaw Impress With “Friends Lose Friends”

I’ve been searching for the last few days for new music that hits right. Sometimes nothing seems to jump out or scratch that emotional itch. Thankfully I can call off the search, because “Friends Lose Friends,” the latest single from Boorloo/Perth indie-folk-punk outfit Odlaw is the goods.

“I wrote this track after a night in our drummer, Jamie’s courtyard,” frontman Mark Neal recalled. “We had some drinks, and the chatter started to descend into deeper territory. We shared stories of loss and relived the moments we found out. It was sad but beautiful. We understood each other’s experience, felt each other grieve, and collectively it helped us”

“Friends Lose Friends” is the latest track lifted from Odlaw’s upcoming fourth studio album, Mi(l)dlife Crisis. Expect to hear a lot more from this incredible band when it drops.

Image used with permission from Blue Grey Pink

Posted on by Lauren Katulka

Daphnie Crushes It With Latest Track “Cupid”

I’m convinced there’s no better pick-me-up than a really great pop song. If you need that lift, look no further than “Cupid,” the latest release from Daphnie, the musical alter ego of Eora/Sydney drummer and producer Alistair Hayes. It’s a total earworm. I’ve already listened about five times in a row, and I’m probably not done.

“It’s an homage to having a crush on someone, with all the excitement and anxiety that can get wrapped up in that feeling,” Alistair explained. “I find the idea of violent metaphors describing beautiful feelings so funny and dramatic, but at the same time crushes always kind of felt like that. I wanted to write something about being killed by the feeling of love itself and that’s exactly what ‘Cupid’ represents. With offbeat lyrics like stupid pickup lines, to those same lines being made fun of, it dramatises the whole feeling of a crush into something ridiculously insane.”

We often associate pop music with a big corporate machine, but Alistair’s operating on a much smaller scale. He wrote, produced, and mixed this track himself in his bedroom, much to his neighbours’ dismay. When he’s making music this good, I wouldn’t be complaining!

Image used with permission from Daphnie

Posted on by Lauren Katulka

Sunset Boulevard @ Opera House, Eora/Sydney – 12 September 2024

I can’t remember ever feeling as apprehensive about a night at the theatre as I did heading to the Opera House last night to catch Sunset Boulevard. When Opera Australia announced it would bring theatre legend Sarah Brightman to Australia to play Norma Desmond, we were thrilled. We purchased tickets as soon as they went on sale, forking out big bucks (and let’s face it, most decent seats commanded big bucks) to see this once-in-a-lifetime talent. But it seemed almost as quickly as Sarah arrived in Naarm/Melbourne for that city’s season the bad reviews went to press. The Guardian said she was “simply not up to the task … not physically, not dramatically, and certainly not vocally.” ArtsHub called her “woefully miscast,” noting that “it’s clear she does not possess the skills to play Norma”. Members of theatre communities I’m a part of on Facebook suggested understudy Sylvie Paladino was far superior, and insisted people should try to get tickets for her performances. All the chatter made me … concerned. I braced myself for the worst. Last night I walked out pleasantly surprised and wondered why the criticism had been so loud.

I don’t pretend to be an authority on Sunset Boulevard. I knew Norma Desmond was a faded star from the golden age of Hollywood who would collaborate with a young writer on a new script to relaunch her career. I knew the famous “Mr DeMille I’m ready for my close-up” line without any context and “As If We Never Said Goodbye” has long been a favourite theatre song, although again I didn’t know where it fitted into the story. I’m glad I didn’t have any preconceptions though. It meant I couldn’t compare this production to any others, I could just get swept up by the story. And I did. More than once my mouth was hanging open, shocked at the plot twists and turns.

It also meant that I couldn’t compare Sarah’s performance to the Norma Desmonds who came before. It seems some of the criticism comes from Sarah’s unique vocals. Certainly her angelic voice is a world away from the earthier tones of a Patti Lupone or a Glenn Close. Her operatic style was also a world away from the more straightforward theatre delivery of her fellow players. But she was Norma Desmond. The greatest star of them all, as we’re repeatedly told. She should stand out on that stage. I’ve read criticisms of Sarah’s voice in some of those Melbourne reviews, but I didn’t hear anything that should be picked apart. I’m not sure if she’s simply found her groove after an extended time away from the stage or they were being ruthless, but I felt blessed to witness her talents. I was especially wowed by “As If We Never Said Goodbye,” but I honestly felt like she didn’t put a foot or a note wrong.

The criticism of Sarah’s acting also feels below the belt to me. This is absolutely a demanding role. Most of us don’t know the level of madness Sarah was attempting to capture, so it’s difficult for us to say whether she did it well or not. I felt she inhabited the character, bringing all of her age and experience to the role. At 64, with extended time away from the stage, the parallels between Sarah and Norma are evident. Norma is clearly more unhinged, delusional, and off-the-wall, but Sarah took on all of that. I believed her, and I’m not sure you can ask more of an actor than that.

Sarah is the star, and quite rightly so, but she’s supported beautifully by the rest of the cast. Tim Draxl and Robert Grubb are some of the nation’s best. Ashleigh Rubenach has taken on major roles in smaller productions, but most often she’s part of the ensemble. She showed such promise as Betty, shining every time she stepped on stage. I’ve often marvelled at the depth of talent we have here in Australia. We can bring a star like Sarah here, and it’s wonderful when we do, but we honestly don’t need to.

While I’m heaping praise on the production, it’d be remiss of me not to mention the incredible set. I haven’t seen grandeur like it. Bringing a story that began as a film to life on the stage is always a hard ask; I can’t recall a team ever doing it so well. It was immersive, impressive, and beautiful.

If you’re plugged into the theatre community like me, you may have already written Sunset Boulevard off. Don’t. I’m not sure whether it’s found its feet in Sydney or people were simply unkind, but it’s an exciting revival. Sarah Brightman is a natural Norma Desmond, but every actor plays their part to make this production so special. Go see it, and Sarah, while you can. Sunset Boulevard plays at the Opera House in Eora/Sydney until November 1.

Image source: own photo

Posted on by Lauren Katulka

“Half Time Oranges” – Alana Wilkinson

2024 has already been a massive year for Alana Wilkinson. She earned standing ovations at Woodford Folk Festival, was named the top act at the Illawarra Folk Festival, took her music to the United States for the Folk Alliance International, and toured the country with Ross Wilson and Scotland’s Ryan Young. And all of this came before she released her debut album. Today we get that recording, Half Time Oranges, a collection of songs that can best be described as the sonic equivalent of a warm hug.

The songs capture beautifully ordinary moments, the kind that add up to create a rich, full life. Many explore motherhood, whether she’s hilariously recounting her brain fog in “With My Boob Out” or encouraging her offspring to aim for the stars in the intimate closer “Dream Big.” “Charlie’s Song” is a gorgeous lullaby for the baby she breastfed between takes. We meet other key characters in her life too, her fabulous friend Jack in “Ultraviolet,” her late grandmother in “Shine Through,” the loves that worked out and the ones that didn’t. She brings them to life through her personal lyrics, which really stand out against her stripped-back melodies.

I love the simplicity of this recording. There are no bells and whistles, no artifice, just lovely little songs that are good for the soul.

Half Time Oranges is out now. Alana will kick off her album tour tomorrow.

13 September 2024 – Kulchajam, Cavanbah/Byron Bay
15 September 2024 – Junk Bar, Meeanjin/Brisbane
19 September 2024 – No.5 Church, Baligin/Bellingen
22 September 2024 – Ecovillage Town Hall, Darkinjung Country/Narara
26 September 2024 – Smith’s Alternative, Ngambri/Canberra
6 October 2024 – The Shed Theatre, Bunurong Country/Main Ridge
26 October 2024 – Sapphire City Festival, Kamilaroi Country/Inverell
1-3 September 2024 – Maldon Folk Festival, Liarga Balug Country/Maldon
17 November 2024 – Hybrid Warehouse, Walyalup/Fremantle

Main photo credit: Jack Fenby, edited by Claudia Sangiorgi Dalimore

Posted on by Lauren Katulka

ISHAN Releases Tender Track “A Song For My Brother”

ISHAN initially won me over with fun acoustic pop ditties like “My Mouth (la la la)” and “Supernova.” He’s switched gears with his latest single, “A Song For My Brother.” It’s still got the acoustic core I love, but it’s much more sombre than his previous efforts. You might want to reach for the tissues before you press play.

“‘The song is not actually about my brother, but someone else I love very much,” ISHAN explained. “For years I’d watched his sense of self-worth and excitement for life eroded by so-called friends who’d take advantage of his kindness and ability to always see the best in others.”

ISHAN’s been incredibly busy lately playing the All About Music conference in India and showcases at BIGSOUND here at home. But he’s definitely not done gigging this year. Catch him at the following shows in the coming months.

27 September 2024 – Northcote Social Club, Naarm/Melbourne (supporting GO-JO)
12 October 2024 – One Tropical Day @ Darwin Ski Club, Larrakia Country/Bundilla Beach
19 October 2024 – Big Pineapple Festival @ Pineapple Fields, Kabi Kabi Country/Woombye
30 December 2024 – 1 January 2025 – NYE on the Hill, Kurnai Country/South Gippsland

Photo credit: Nick McKinlay

Posted on by Lauren Katulka

All Regards Release Powerful Single “Let Me Down (Gently)”

All Regards have really touched me with their latest single “Let Me Down (Gently)”. It’s a powerful exploration of grief that’s bound to hit you too if you’re going through any sort of loss.

“Each of us in the last couple of years has had instances where we’ve gone through grieving for something or someone that was incredibly important to us,” the band explained. “Whether you are grieving the death of a loved one, the end of a relationship/friendship, or the end of a certain time in your life. It does not discriminate who it affects.”

All Regards will join fellow Naarm/Melbourne rock act Dear Reckless when they launch their latest single “Anchors” at The Last Chance Rock & Roll Bar on October 11. Tickets are on sale now through Oztix.

Photo credit: Act Four Photography

Posted on by Lauren Katulka

Hamilton @ Lyric Theatre, Eora/Sydney – 3 September 2024

When Hamilton made its Australian debut in 2021, we were the only nation in the world playing Lin-Manuel Miranda’s masterpiece. It was a beacon of hope, not just for the locals here coming out of lockdowns but for the world’s theatre community. I saw it in April 2021, thrilled to celebrate my birthday out in the world when the last was spent locked down. It seemed like kismet to see the musical on stage that had brought some colour to a very grey 2020. The Sydney season began smoothly, but was plagued by more lockdowns. Many people had their tickets cancelled, so it’s only right that now the production has made its return.

I was so impressed by the original Australian cast, but I think this latest run may top the first. I was obsessed with Vidya Makan’s performance as Eliza. There’s such a beautiful joy and innate goodness about her presence on stage. Her version of “Burn” ripped my heart out. Googoorewon Knox brought the right amount of gravitas and sexiness to George Washington. I feel like Brent Hill has grown into his role of King George and really made it his own with an incredible mix of farce and ire. Gerard-Luke Malgas brought all the charisma to his dual parts of Lafayette and Jefferson, all while never missing a beat of those rapid-fire raps.

But I’ve got to give a special mention to Marcus John. When he stepped out and said his name was Alexander Hamilton, my immediate thought was, “No you’re not!” Jason Arrow set such a high bar for this role, so I felt my gut sink when I saw his understudy was taking the stage. My reservations faded quickly though. Hamilton is such a tough role. He’s got the lion’s share of the musical’s many, many lyrics, but he’s also such a complex character, brilliant and inspiring but abrasive and selfish. It takes incredible skill to get it all right. When we have talents like Marcus waiting in the wings, it just shows how good this company is.

In 2021, I saw Hamilton from the nosebleed seats. I’d invited my whole family along, so I felt I needed to make compromises. This time around I relished my front row dress circle seats. I noticed little moments I hadn’t seen before, even though I’ve seen the pro shot countless times on Disney+. The beauty of seeing this musical live is that you can take it all in, not just what the camera wants you to see. My mum made the trip with my husband and me and said she took so much more from seeing the show a second time.

I often criticise producers for staging the same musicals and never taking a chance on anything new, but it makes sense for Hamilton to come back considering its disrupted first act in Australia. But even if that hadn’t happened, I’d want to see Hamilton on our stages again. It’s such a powerful musical. Every time I see it, it stirs something deep in me. I feel it in my chest as the company delivers songs like “One Shot” and “The Battle of Yorktown.” I feel it in my heart, wiping away tears every time they perform “It’s Quiet Uptown” and “Who Lives Who Dies Who Tells Your Story”. The Hamilton Australia website says it’s now playing “the final Australian season.” I hope against hope that isn’t true. But if you haven’t seen Hamilton yet, don’t risk it. If this is your only time to see this incredible musical, you do not want to miss out.

Hamilton is at the Lyric Theatre until January 5. Tickets are on sale now from Ticketmaster.

Image source: own photo