Category: Reviews

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

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

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

Posted on by Lauren Katulka

“Strings Attached” – Greg Gould

Australia met Greg Gould in 2013, when he came second in that year’s season of Australia’s Got Talent. He might not have claimed the title, but his incredible covers of tracks like “Purple Rain” and “Feelin’ Good” stuck in the public consciousness. His debut album 1998, jampacked with covers of the year’s biggest hits, topped the charts. He toured the country with En Vogue’s Maxine Jones on the back of their cover of “Don’t Let Go.” Covers have served Greg well. He has a knack for inhabiting a familiar song and making it his own. But Greg has much more than an amazing multi-octave voice to offer the music scene. With the release of Strings Attached, his first album of original music, he shows us he’s got plenty to say.

Pop is so often accused of being a lightweight musical genre. Musicians who come through the reality system are often dismissed by their industry peers. Greg seems to relish busting those myths and showing exactly what he can do. He doesn’t shy away from weighty material, tackling issues like sexual assault, the fight for equality, and the violent deaths of his friends Jesse Baird and Luke Davies. And that’s just the singles. Some songs can be confronting, but they’re also incredibly moving. Greg’s rich voice and knack for pop melodies draw you in, encouraging you to listen even when it’s uncomfortable.

It’s not all heavy-going though. “Hurricane” is an uplifting dancefloor anthem about trusting the right relationship. The earnest message and sweet piano melody of “You Are Enough” wrap around you like a big, self-affirming hug. “Love It All Out” is a beautiful torch song, a simple romantic ballad elevated by the musical chemistry Greg shares with Asian superstar Phoenix Morissette. She’s one of several big names on the album. There’s Broadway icon Shoshana Bean, Australian Idol Kate DeAraugo in her first pop appearance in nine years, Drag Race royalty Kween Kong, and a massive list of talent working behind the scenes. It’s a testament to Greg’s talent that all these luminaries have clamoured to work with him.

Strings Attached may well be the most powerful pop album I’ve ever heard. Greg takes the opportunity to tackle some big issues here, but he perfectly balances the darker songs with the light usually associated with the genre. With this album, I feel like we’re finally seeing the true depth of his talent, and it’s glorious.

Strings Attached is out now. You can see Greg live at one of the following shows:

13 September 2024 – Adelaide Entertainment Centre, Tarntanya/Adelaide (Synthony Dance Anthems Orchestrated)
20 September 2024 – Margaret Court Arena, Naarm/Melbourne (Synthony Dance Anthems Orchestrated)
27 September 2024 – Flamingo’s Live, Mulbinba/Newcastle (Keep the Faith George Michael & Whitney Houston show)
28 September 2024 – Avoca Beach Theatre, Darkinjung Country/Avoca Beach (Keep the Faith George Michael & Whitney Houston show)
30 September 2024 – Reef Casino, Gimuy/Cairns (Keep the Faith George Michael & Whitney Houston show – FREE)
31 September 2024 – Reef Casino, Gimuy/Cairns (Keep the Faith George Michael & Whitney Houston show – FREE)
8 November 2024 – Athenaeum Theatre, Naarm/Melbourne (Immortality Celine Dion & Bee Gees show)

Images used with permission from Kick Push PR

Posted on by Lauren Katulka

“In the Clear Light of Day” – The Holy Smoke

After eight years together, The Holy Smoke have called it a day. But not before releasing one more EP, In the Clear Light of Day. This five-track collection is a celebration of everything that makes this trio so special.

Something so magical happens when Karlee Rae, Delilah Rose, and Rose Parker sing together. Their harmonies are incredible and effortless. But you don’t just hear beauty as their voices come together. You hear their connection, which seems amplified by the recording process. It was mostly recorded live, sometimes through a shared mic, so it captures their spontaneous joy and unmistakeable bond so beautifully. I can almost hear them smiling as I listen to these songs.

These songs are the perfect selections. The Holy Smoke says they deal with “secret women’s business,” those concepts so many women struggle with but perhaps don’t talk about enough. I was so struck by the opening number “Little Light,” a song about stepping into your powers that so beautifully incorporates the timeless standard “This Little Light of Mine.” With just this one track, I was hooked. “Deeper Water” sees the trio resolving to keep moving forward, taking life’s challenges head-on and refusing to dwell on the mistakes of the past.

While the first two tracks celebrate internal strength, the EP’s heart comes from “My Mama.” We hear where the strength came from as we learn about the lessons passed down from generations. Its stunning acapella arrangement highlights the lyrics and The Holy Smoke’s incredible harmonies.

“Self Talk” is a courageous song about battling imposter syndrome. Hearing the trio tackle this song is inspiring. Imposter’s syndrome is a battle many face alone, but as the three voices come together it creates a shared understanding and resolve which is so powerful. This EP ends with the gentle piano ballad “Shine On,” which introduces us to a diverse cast of female-identifying characters telling their truths and forging their own paths. Exploring this central theme for The Holy Smoke through these characters is a beautiful way to end both this EP and the trio’s story.

In the Clear Light of Day is out now.

Photo credit: Bridget Julie-Anne

Posted on by Lauren Katulka

“Noonlight” – Yours, Georgina

I’ve been a fan of Georgie Currie’s voice for years. As one-tenth of Naarm/Melbourne folk-pop act The Northern Folk, her gorgeous vocals always drew me in. While I love what she does in this band, I’m perhaps even more excited by her first EP Noonlight, released under the musical moniker Yours, Georgina. Through listening to these songs, I feel like I’ve gotten to meet Georgie the artist, who is so much more than a vocalist, for the first time.

Georgie’s heart sits so close to the surface in these songs which are united by the central theme of deceit. There’s deceit from past partners who told her things that didn’t turn out to be true. If the former flame in the opening track “If You Wonder” wasn’t capable of love as they claimed, she wonders how they’re all but married to someone new. Then there’s self-deceit, whether she’s convincing herself that dating apps are the answer in “Dog Tired” or looking at an old relationship with rose-coloured glasses in “We Hardly Speak At All.” Georgie flips the script with the closing song, “Who You Gonna Be Girl.” This upbeat country-tinged anthem celebrates the desire to move forward with most honesty. It’s like a breath of fresh air after the emotional weight of the songs that came before.

It’s interesting that an EP built around an exploration of deceit feels like it comes from such an honest, authentic place. The lyrics bring the relationships Georgie recalls, and the emotions they stir, to life so vividly. Coupled with her warm, inviting voice, they really make this EP so special. I love what Georgie does with The Northern Folk, but I hope this isn’t the last time that we hear her making her own music.

Noonlight is out now.

Photo credits: Shannyn Higgins

Posted on by Lauren Katulka

“an introduction to a theme” – PRETTY BLEAK

It might seem premature to usher in a new era with the release of a second EP. But press play on an introduction to a theme, the latest release from Naarm/Melbourne-based act PRETTY BLEAK, and it all makes sense.

PRETTY BLEAK dropped this EP after the release of in retrospect, featuring all their previous singles including those from the debut EP BLOOD, earlier this year. It definitively put a line through what came before and the music we hear now. PRETTY BLEAK hasn’t started from scratch, but they’ve built on the foundations of their early music. There’s still the mix of happy-sad that captured my ears when they hit the scene, although the balance shifts a little more towards the light these days.

As the title implies, an introduction to a theme is a concept EP. Through these six songs, PRETTY BLEAK explore the journey of a relationship. Opening track “she’ll come around” is a feel-good alt-pop track that celebrates the kind of love-at-first-sight infatuation that’s like an addiction. When it’s good, it’s so good, and we see it play out with the honeymoon phase in “now i feel it coming on” and “in your air”. The final track, “can’t say” sees it all fall apart. It’s devastating, dramatic, a natural evolution from PRETTY BLEAK’s earlier emo releases. I didn’t know the band had a song like this in them. It’s incredible.

With the release of an introduction to a theme, it feels like the emo kids have come of age. While I’ve enjoyed some previous releases, I found they could be a little hit-and-miss. This EP is their most cohesive and compelling body of work to date. The band sounds ready for stadiums and the vocals from Sam Thomas soar. They should be proud of this one.

an introduction to a theme is out now. PRETTY BLEAK will officially launch the EP with the following shows:

30 August 2024 – The Workers Club, Naarm/Melbourne
14 September 2024 – Tomcat, Meeanjin/Brisbane

Main photo credit: Tom Thomas

Posted on by Lauren Katulka

“Party Boy” – Eaglemont

Proving the adage that good things come to those who wait, Naarm/Melbourne based singer-songwriter Eaglemont recently released her debut album Party Boy. It’s a really special collection of introspective indie pop-rock-folk songs that eloquently explore themes of heartache, self-acceptance, and connection.

I knew I’d love this album before I hit play. I’d already raved about the singles “You Don’t Live Here,” “Vodka Pineapple,” and the title track “Party Boy,” marvelling at their confessional lyrics and Eaglemont’s heartfelt delivery. Sometimes when an album comes on the back of such strong singles, the remaining tracks struggle to hit the same bar. As I listened to this album though, and I’ve done that a lot over the past week or so, I was struck by new favourites. I fell in love with the wistful nostalgia and rock angst of opening track “Two Dumb Kids.” I wiped away tears as “Ikea” immersed me in a painful breakup recreated so vividly with Eaglemont’s detailed lyrics. I felt such empathy for the complicated relationship she recounts in “Girls, Darts, Panic Attacks.” The quiet, emotional power of “Spiral” really resonated with me.

Party Boy’s songs are so incredible on their own, but when you put them all together, they’re even stronger. They create such a powerful portrait of Eaglemont and her journey towards love, both for herself and others. She shares her queerness, her insecurities, and her heart so authentically that most listeners should find themselves relating to this impressive album, even if they haven’t gone through some of Eaglemont’s struggles.

Party Boy is one of the best Australian debut albums I’ve heard in some time, and it’s out now.

Main photo credit: Wildrose Pictures

Posted on by Lauren Katulka

“Bilambiyal (the learning)” – Radical Son

Radical Son has one of those voices that stays with you. It stops you in your tracks, forcing you to listen in and pay attention. A proud Kamilaroi and Tongan man, he’s just released his sophomore album Bilambiyal (the learning). It’s a special collection of soulful songs that will resonate with you long after the last track fades.

Interestingly, this album opens with “Elder – Reprise.” We’re not starting at the beginning, but further down the journey, where Radical Son expresses his hope to become an Elder, to grow old with a partner. He has dreams, dreams that might have seemed impossible at the start of the story. That story is sadly an all too familiar one. Radical Son’s life hasn’t been easy. He’s spent time in jail. Songs like “How Long Must I Wait,” featuring the incomparable Emma Donovan, and “All My Life” don’t shy away from the hard times. You can hear the pain in his vocals, the yearning for a different path. They’re a heartbreaking part of the story but they’re also an essential part because working through them gave him the wisdom and perspective he has today.

After his incarceration, Radical Son sought healing and redemption through his culture. The album evolves as each song retells that journey, taking us from a place of sadness to one of healing and ultimately hope. “Until You Call My Name” touches on love, of taking steps forward. Its stirring string section feels almost cinematic. The contrast between this track and the next, the intimate spoken word interlude “Cultural Contract,” gives resonance to both. Radical Son expands on the ideas of the opening track with “Elder.” It’s an inspiring midway point. After coming through so much pain, gaining so much wisdom, we see Radical Son finding purpose, hoping to channel what he’s learned into teaching the next generation so they don’t have to walk the same path.

“Only One Life” is a joyous reggae number celebrating existence. It provides a brief moment’s respite before the somber title track. The introspective lyrics about loss, suffering, and rebirth are amongst the album’s best. The legacy of Yothu Yindi no doubt influenced “Yuluwirri Wandabaa (The Rainbow Dreaming).” Featuring Frank Yamma and the return of Emma Donovan, you feel this one deep in your bones. “Dhuwan Baraay Yuligi” is a much more intimate number, one where the vocals take centre stage. My intellectual side wished I understood the language, but the more primal part of me felt it. Something tells me, that’s the point. The layered vocal harmonies of “A Golden Age” have a gorgeous angelic quality that elevates, leading into the optimistic but vulnerable closer, “The Fall.” As Radical Son sings it’s going to be alright, you can’t help but believe him.

Bilambiyal (the learning) takes listeners on such an incredible journey, one that I’ve willingly taken countless times over the last few days. Radical Son is such a compelling artist, and in this album, he shares his wisdom and talent so freely. Wait until you’ve got a nice block of time to just listen to it, free from distractions, because this powerful album deserves your focus.

Bilambiyal (the learning) is out now. Radical Son will play an all-ages show at QPAC in Meeanjin/Brisbane tomorrow night, 31 July, to raise awareness of First Nations men’s mental health.

Main photo credit: Cameron Bloom