Category: Concert Reviews

Posted on by Lauren Katulka

Cyndi Lauper @ Newcastle Entertainment Centre, Mulubinba/Newcastle – 7 April 2025

After more than four decades touring the world, Cyndi Lauper’s made the decision to step away from the stage. Thankfully not before bidding fans around the world a fond farewell. It’s been 14 years since I saw this icon live. I resisted a few double bills and had a few clashes, so I was thrilled that the stars aligned for me to see her one last time.

The Veronicas didn’t just warm up the stage; they made it red hot. They delivered a smart set made up of their many bangers and some choice covers. “Edge of Seventeen” was an electric opening number that played perfectly to the crowd of ‘80s music fans. “Love is a Battlefield” and an incredible cover of “Simply the Best” also made their way into the set. These songs sat easily amongst the Veronicas originals. I’m not sure I realised how many chart toppers they’d released, but I knew and loved everything they performed. Some of those songs are heavily produced on the record, so it’s easy to forget just how good their voices are. Whether singing independently or harmonising in the way only siblings can, they sounded sublime. They also had such energy; I couldn’t look away. Note to self: make a point to see more Veronicas shows.

This was a very different Cyndi show than the last one I attended; I feel so blessed that I got to see both. Last time she was promoting her Memphis Blues album, and with a crack team of blues musicians around her focusing on that album felt right. The biggest hits came out near the end, giving fans an opportunity to sing along before the end of the night. This time around the hits came out early after a rainbow explosion of confetti. Talk about starting the night with a bang! I sang along heartily with tracks like “She Bop,” “The Goonies ‘R’ Good Enough,” and her iconic cover of Prince’s “When You Were Mine.” I marvelled at the sight of this ‘80s icon with her bold outfits and colourful wigs bopping around the stage.

This show wasn’t just about the hits and Cyndi’s bubbly persona though. Without a new album to promote, Cyndi could use her time playing songs that moved her in the moment. I was thrilled to hear many of the softer, more personal songs that didn’t make the set list last time like “Sally’s Pigeons” and “Who Let in the Rain.” One of my very favourite moments was watching Cyndi standing in place, without a trademark wig in place, wearing all black, delivering the most incredible version of Frankie Laine’s “I’m Gonna Be Strong.”

This show wasn’t just about the songs either. Cyndi told us several times she didn’t just want to sing at us. She shared stories freely, about her working-class upbringing, her career, and her beliefs. I hung on her every word. She’s such an incredible storyteller and I loved getting to know her heart a little more.

For the encore, Cyndi moved to a smaller stage in the centre of the floor. Watching the fans circling her, gazing on adoringly as she performed the powerful “Shine,” I thought this is probably as close as I come to church. It was that powerful. And just when I thought it couldn’t get any better, Cyndi delivered “True Colours.” I’ve heard this song so many times, but I’ve never been as moved as I was last night watching Cyndi deliver it as she waved a beautiful rainbow scarf. It was such a powerful symbol of allyship delivered at a time when the political war against the LGBTQIA+ community is raging. I don’t mind admitting that I was moved to tears. As I wiped them away, Cyndi lifted us up one more time with her girl power anthem, “Girls Just Wanna Have Fun.” She told us she wanted us to sing loudly and joyfully, and we all did. I experienced pure, unfettered happiness. How special is that?

It must be a difficult decision for artists to step away from the stage. Cut it too short and you miss that connection with fans that Cyndi clearly enjoys. But overstay your welcome and you might tarnish your legacy. It’s very rare that you see an artist time it as beautifully as Cyndi. While she wasn’t quite as energetic as the last time I saw her, she still had plenty in the tank and she gave me everything that mattered. Her vocals were incredible. Her artistic vision was still so fresh. And she still had a few moves up her sleeve. Saying goodbye is so bittersweet, but if we had to do it, I’m so glad we did it this way.

Cyndi has just a few shows left on the Australian leg of her Girls Just Wanna Have Fun Farewell Tour. If you are on the fence, trust me, buy the tickets. You will not regret it.

8 April 2025 – Qudos Bank Arena, Eora/Sydney
10 April 2025 – Adelaide Entertainment Centre, Tarntanya/Adelaide
12 April 2025 – RAC Arena, Boorloo/Perth

Photos: Stephen Katulka

Posted on by Lauren Katulka

Misneach @ The Domain, Eora/Sydney – 16 March 2025

St Patrick’s Day came early to Eora/Sydney yesterday with the first ever Misneach festival, a welcome addition to the city’s festival calendar. The brainchild of regular visitor to our shores Dermot Kennedy, the festival was a celebration of Irish culture.

I personally thought my festival days were long behind me, but I’m such a Dermot fan I didn’t hesitate to grab tickets. I did wonder how I could possibly stand for close to 12 hours, but like so many music-motivated decisions I decided I’d figure out the details later. As it turned out, I didn’t have to. With my collarbone not healing as well as doctors would like, I reached out to organisers with my concerns about being jostled in the crowd. Hey presto, my husband I found myself with an upgrade to accessible seating. We were so well taken care of, with access to water and sunscreen and a plum position on an elevated platform directly behind the front general admission. I found the one silver lining to a major car crash! Our prime position helped me brave the 38-degree heat and enjoy all the acts.

That 38-degree heat was certainly a barrier for many though. No one can control the weather, but it’s a great shame because it meant some of the early acts played to just a handful of dedicated music lovers. Some came late, others preferred the ample seating and shade that the Doss House stage provided. If I didn’t have a chair provided, I certainly would have joined them. But I was thankful that I could enjoy those emerging artists in relative comfort.

Even if you didn’t get the red carpet treatment, you were well looked after at Misneach. The Red Frogs team circled the crowd offering free water, sunscreen, and those sugary Allens lollies. Friends reported that the team at the medical centre weren’t just happy to keep medications cold and provide space for taking them; they also allowed offered charging ports for the ounters’ mobile devices. The food vendors catered to every taste and dietary requirement. We were personally thrilled to see Coeliac Australia-accredited food truck Brother Jackson & Co. selling safe gluten-free items. Their festive green-battered chips on sticks were top notch.

FYNCH was the ideal opening act for a festival that aimed to break stereotypes and showcase where Irish music is today. He’s clearly a talented rapper, although I’m not sure the small crowd did him justice. Or perhaps it was the heat. His performance seemed a little introverted, but it’s hard to bring the energy to an empty dancefloor.

After brushing up on the appearing artists before the show, Cliffords were the new discovery I was most excited about. While FYNCH’s set dragged a little, Cliffords seemed over in the blink of an eye. Iona Lynch is such a captivating frontwoman and their angsty rock songs are incredible. If I wasn’t so wiped out, I’d be at the Lansdowne seeing them tonight. They’re incredible: get on to them.

Susan O’Neill told us her set was “20 minutes of misery,” but I felt uplifted by her sad songs. She was one of the real surprises for me. While I liked listening to her gentle folk music on Spotify, the recordings can’t capture utterly enchanting she is on stage. Her voice is so unique and beautiful, what a huskiness and warmth that draw you in and leave you hanging on every single word. This was another set over too soon that deserved to draw more of a crowd. If you were there, you know how special it was.

Sorcha Richardson continued to show us just how strong female-fronted music is in Ireland. A singer-songwriter at her core with an indie-rock bent, she oozed cool. She’s another artist that I felt could have benefited from a larger turnout around the stage; it just might have taken that solid performance to the next level.

While the sun was still scorching, many couldn’t resist the allure of Amble. I didn’t blame them. I’d had music from this modern folk act on regular rotation leading up to the festival and they did not disappoint. They seemed to feed off the appreciative crowd who gathered in full voice, waving their Irish flags proudly. I loved hearing those classic Irish instruments like the mandolin and banjo combining with their flawless harmonies. What they do is really special. Like Cliffords they’ll continue the party tonight with their own show at Oxford Art Factory. That one’s sold out; I wouldn’t be surprised if fans nabbed the last couple of tickets after watching them yesterday.

Some may wonder how Australian artist Meg Mac landed on the bill. However, with an Irish mother she was an ideal representative for all the Aussie-born Irish folk here in this country. And you can’t argue with her talent. Watching her set I was reminded just how many hits she’s had over the years. Her voice was utterly flawless and I loved watching her easy camaraderie with her sister and back-up singer Hannah.

The show took a sharp left turn with The Scratch who amped up the energy with their unique blend of traditional Irish folk and heavy metal. That blending of genres sounds like a mess on paper, but I was enthralled. Even though the sets were getting longer by this point, it felt like theirs went by in a heartbeat. If I had more energy, I’d catch them at the Doss House tonight. I know they’re going to raise the roof on that tiny whiskey bar!

I’ve got a confession to make: I was not looking forward to Kneecap. I know they’re on the hottest bands on the planet right now, but after listening to some of their music online I thought this hip hop trio’s longish set might be a slog. It’s just not my thing. I didn’t account for that X factor that comes when you’re seeing an act like this live though. Their set was absolutely off the hook. They whipped the crowd into a frenzy, the likes of which I’ve never seen. The pit looked so much fun, but my broken collarbone was very glad I was well clear of it! Bottom line: I was entertained, and you can’t ask for more than that.

I wondered how Matt Corby might feel following up Kneecap’s wild performance. If he was intimidated, it didn’t show. He just came out and did his thing. What he does, he does so well. Matt’s another Aussie artist that I hadn’t seen up until this point, so it was exciting to finally get there. The set celebrated his evolution, from his folky breakthrough “Brother” to more recent soul releases. Whatever genre he turns his hand to, his musicianship so impressive and his voice is spine-tinglingly good.

My excitement hit fever pitch as The Frames’ set approached. I bought tickets to Misneach knowing only that Dermot would play, trusting him to allow the rest to fall into place. I didn’t expect he’d put my favourite Irish artist and Frames frontman Glen Hansard on the bill. Glen is the only artist that I have carte blanche to simply buy the concert tickets whenever he tours, no questions asked. We love him. And it’s been nine long years since he played in Australia. So much time has passed that Glen realised it was the first time his band was the oldest on a festival set, to rapturous applause. However, age is not wearying this outfit. The Frames are an Irish institution, and anyone who wasn’t already aware of that discovered why through their blistering set. From hard-hitting tracks like “Relevate” and “Fake” to gentler moments like “Star Star” and “Lay Me Down,” it was a masterclass. I only hope this all-too-short set helps Glen remember how good Aussie audiences are and we get the opportunity to see him playing a much longer show here sooner rather than later.

And then there was Dermot Kennedy, the man who brought it all together. It might just be the post-concert excitement talking, but I think he might be getting better. Or perhaps the gravity of seeing the festival he conceived brought to life gave him a little extra gas in the tank. But either way, he was in such fine form last night. His hour and a half set celebrated his albums Without Fear and Sonder, gave a nod to his first recordings, and acknowledged where he’s heading with the debut performance of “Let Me In.” It’s only been out in the world for a few days, but the choir of audience members joined him singing it as confidently as they did any of his past singles. This is the power of Dermot, a man who inspires such passion with his poetic, emotional music. He delivers a big show now with colourful screens, a full band, and backing singers, but that poetry, that heart, remains at the centre of what he does.

Dermot doesn’t usually do encores, but he made an exception this time, reuniting all the event’s musicians to join their voices and ours in the traditional Irish farewell, “The Parting Glass.” We didn’t take any photos, preferring instead to just drink in the moment. What a special way to say goodbye to the first ever Misneach.

Dermot said he’d see us all next year, so I guess my days of festivals aren’t far behind me at all. I won’t be able to rely on the accessible seating next year, but I had so much fun that I’ll willingly brave the crowds. Hopefully the weather is a little kinder to us in 2026!

Photo credit: Stephen Katulka

Posted on by Lauren Katulka

Hadestown @ Theatre Royal, Eora/Sydney – 7 March 2025

Theatre fans in Australia have been spoiled of late with outstanding major musical productions playing our stages for the first time. They don’t always find their audience; the premature closure of Dear Evan Hansen is a prime example. But I do hope that the industry continues taking chances on “fresh” works. The latest is Hadestown, which took home eight Tony Awards in 2019 including best musical.

I must admit, that was nearly all I knew about Hadestown, but it was enough to encourage me to grab some tickets. Sure I knew it was based on Greek myth and was aware of the roles its original Broadway cast assumed, but I was essentially flying blind. I love experiencing art like that, letting myself get swept up in the story and songs.

It’s very easy to get swept up by Hadestown. The characters break the fourth wall from the start, encouraging you to become part of their world, or should I say worlds. The mortal world feels like a New Orleans speakeasy, vibrant and full of life, a stark contrast to the cold dictatorship of the Underworld. Against these backdrops, the love story of Orpheus and Eurydice plays out.

If you know your mythology, you know exactly how it plays out. If you’re paying attention to the songs, you know how it plays out. And yet, when this production reached its climax, you could hear an audible, collective gasp. We weren’t ready.

Any production that can draw its audience in as Hadestown does is a winner in my book. I was so emotionally invested. While the Broadway bones play a role, so too does what the Australian cast brings to it. What a special collection of artists they are. Christine Anu is the only big name, returning to the theatre stage so many years after her debut in Rent. Her Hermes is undeniably Aussie, warm and wise. I appreciate that she stamped her own mark on the role rather than simply following Broadway legend Andre De Shields’ lead. Abigail Adriano and Noah Mullins are so compelling as Eurydice and Orpheus, playing their roles with earnest, youthful enthusiasm. I doubted anyone could embody Hades as well as Patrick Page, but our own Adrian Tamburini gives the Broadway icon a run for his money. Elenoa Rokobaro is such an incredible chameleon as Persephone, sunshine and fire depending on what the scene needs. And that voice! Speaking of voices, the Fates gave me chills every time they launched into their exquisite harmonies.

While most musicals hide their musicians in an orchestra pit, Hadestown makes them part of the show. They add to that speakeasy feel, showcasing their incredible talents on the stage and interacting with the rest of the cast.

There’s so much to love about Hadestown, I sincerely hope that Eora/Sydney and Naarm/Melbourne audiences get behind it. I understand that the cost of living is high and there’s so much competing for your entertainment dollars, but it’s one of the most impressive works I’ve seen. Don’t let this one pass you by.

Hadestown is at the Theatre Royal in Eora/Sydney until April 26, then plays Her Majesty’s Theatre in Naarm/Melbourne between May 8 and July 6.

Posted on by Lauren Katulka

Southern Sons @ The Art House, Darkinjung Country/Wyong – 28 February 2025

When I saw the then newly reunited Southern Sons perform at 2019’s One Electric Day, I begged for a tour. This iconic Aussie act disbanded when I was 14, so I was too young to catch them in their heyday. Their short set at One Electric Day was well … electric … but it left me wanting more. Last night, more than five years after those shows, my patience was rewarded. With a gig in my local area no less!

This isn’t quite the Southern Sons of old. Phil Buckle never rejoined his bandmates and with Virgil Donati overseas, the uber-talented Pete Drummond has taken over drumming duties. But that core trio of Reggie Bowman, Geoff Cain, and frontman Jack Jones ably steer the ship. Their camaraderie is evident, both with each other and new kid Pete. Even though there’s one less member, the Southern Sons sound has lost nothing. Their sublime harmonies, incredible musicianship, and Jack Jones’ incomparable voice shone through in every number.

As a fan, I relished the opportunity to hear a longer set. While I’ve seen Jack play countless times, it’s always been acoustic. He needed to wait to reunite with his bandmates and be amongst fans to bust out some of my old favourites like “Hold On to the Memory” and “Sometimes”. It’s funny how you can hear songs after so many years and find yourself singing along, even though you haven’t thought about their lyrics for years. Those deeper cuts provided some of my favourite moments, but of course I loved the bigger hits. Being amongst fans who could sing along to smashes like “Lead Me to Water” and “Always and Ever” more confidently than the recent crowd at Avoca Beach Theatre was fabulous. That solo Jack Jones gig was totally stripped back, but in this bigger show Southern Sons used technology to great effect. With screens and audio, we experienced Colin Hay joining the band for “Don’t Tell Me What’s Right” and John Farnham joining Jack for the duet that should have been, “Burn For You.”

I worried that during a full band show, Jack may not have been able to chat as easily with the audience as he did during the Avoca Beach Theatre gig. So I was thrilled to see him take a seat, grab an acoustic guitar, and regale us with some stripped-back songs and stories. He’s such a charismatic storyteller that I hung on his every word, even though I’d heard the tales before.

Jack’s chattiness has always charmed me, but I was less enamoured later in the set when he talked about his surprise that he hasn’t been cancelled, the way he walks that line, before chatting about how “chicks don’t have ding-dongs.” Of course, he’s entitled to voice his beliefs, but the casual transphobia left a sour taste in my mouth. The laughter that erupted from the crowd suggests I was in the minority, but I would have appreciated more music from the early 1990s and less of the era’s opinions. Honestly, it was a bit hard for me to regather my enthusiasm after that and sing along to “Heart in Danger.” I can only imagine how it might have hit any members of the trans community who may have been present.

It’s amazing how just a few sentences can mar a generous set that stretched on well past the promised hour and 45 minutes. Southern Sons didn’t put a foot wrong until they did, and it’s a shame that’s what I’m likely to remember most about this long-anticipated gig.

Southern Sons continue their 35th anniversary tour in Thurrural/Thirroul tonight. Limited tickets are still available for the following shows:

1 March 2025 – Anita’s Theatre, Thurrural/Thirroul
7 March 2025 – Yan Yean Theatre @ PRACC, Wurundjeri Country/South Morang
8 March 2025 – Arts Centre, Monmar/Frankston
14 March 2025 – West Gippsland Arts Centre, Darug Country/Warragul
15 March 2025 – Ulumbarra Theatre, Dja Dja Wurrung Country/Bendigo
21 March 2025 – Country Club Showroom, Kanamaluka/Launceston
22 March 2025 – West Point Showroom, Nipaluna/Hobart
12 April 2025 – Astor Theatre, Boorloo/Perth
2 May 2025 – Alpine MDF Theatre @ WPACC, Wangaratta
3 May 2025 – Palms at Crown, Naarm/Melbourne
19-26 October 2025 – Rock the Boat (SOLD OUT)

Photo credit: Stephen Katulka

Posted on by Lauren Katulka

Damien Rice @ State Theatre, Eora/Sydney – 3 February 2025

Damien Rice’s music captivated me from the release of his debut album O. Yet strangely, even though he’s a regular visitor to our shores, I hadn’t managed to catch him live. Those shows always clashed with others or came at the wrong time. So I made things right last night when he visited the beautiful State Theatre.

I thought I was in for a special night, but it exceeded my expectations. All too often musicians tour a set show. The songs mostly stay the same, they tell the crowd the same stories, simply subbing out city names where appropriate. The performances are carefully crafted to appeal to the masses, and to some degree it works. But when artists have such a clear plan, I think it can also undermine creativity, spontaneity, some of the foundations of music. So it was refreshing to see an artist like Damien Rice who throws out the rule book and gets back to basics.

Damien doesn’t use a setlist. Instead he relies on instinct and lets the evening play out as it’s supposed to. Sometimes he played the music that felt right for the moment, in others he agreed to the requests of his passionate audience or asked his talented cellist and vocalist Francisca Barreto what she felt like playing. He also doesn’t go for the usual staging either. There are no big screens behind him and lighting is minimal. That might not be ideal for photos, but I loved the intimate atmosphere these choices created.

I had my first inkling that this wasn’t any ordinary show when he played his first number, an unreleased track, on his knees hunched over a harmonium, a small light barely illuminating his face. I was mesmerised. He moved on to more familiar territory with “Delicate,” the opening track from O, but even though we all knew it you could hear a pin drop. It was almost as if we collectively worried that adding our own voices to the mix might break the spell.

It took until the eighth song for someone to yell out a request. “I Remember,” an excellent choice Damien was all too happy to oblige. This opened the floodgates for others to suggest their favourites. He was generous, delivering many songs the audience held dear. I’ve got to commend those vocal fans for choosing so beautifully. But all too soon he told us that he’d need to start wrapping up as people had work in the morning. How I love a musician who’s so considerate on a weeknight! And so, he gifted us with his breakthrough hit “The Blower’s Daughter” mixed with a little of Radiohead’s “Creep.” It was glorious from the start, but turning down all the microphones, so he was simply singing to us, made it magical.

Honestly, I hadn’t expected an encore. That song was so powerful, I wasn’t sure where he might go from there. But sure enough, he came back with Francisca and delivered a beautiful version of “Cold Water” silhouetted against the stage’s backdrop. I didn’t need to see them because I could feel them. Damien ended the evening with another unreleased track, bringing the evening full circle. On any other night these might have seemed like strange choices but on a night like this, which was more about appreciating music than singing along to it, it made perfect sense.

As I left the theatre, and again now as I relive it in my mind, one word echoes in my brain: transcendent. It means “beyond or above the range of normal or physical human experience.” That’s what this concert was for me. I see a lot of concerts. I love many of those shows. But I’m not sure I’ve ever experienced a night quite like this. Thank you Damien Rice.

Damien Rice continues his Australian tour in Mulubinba/Newcastle. There are limited tickets for that show at the Civic Theatre tonight before he plays his final sold out show in Meeanjin/Brisbane on Thursday.

Photo credit: Stephen Katulka

Posted on by Lauren Katulka

Heathers: The Musical @ The Art House, Darkinjung Country/Wyong

I love musical theatre, but it doesn’t seem like the nation as a whole embraces my enthusiasm. More often than not, major theatre promoters seem unwilling to try anything new. They give us the same old hits or jukebox musicals they know will fill seats. And I don’t blame them. When they do take a risk, as Michael Cassel Group did recently staging Dear Evan Hansen, the reception is so lukewarm that whole runs outside Eora/Sydney and Naarm/Melbourne get cancelled. But I learned a couple of years ago that musical theatre nerds like me have options. There are passionate community theatre groups all over the country committed to bringing a greater variety of productions to fans. I’ve raved about the Hayes Theatre in Eora/Sydney before, but I’m lucky to have a fantastic community theatre group closer to my home in Darkinjung Country/Central Coast. On Sunday I headed to the Art House to see Curtain Bounce’s production of Heathers: The Musical.

The Art House has staged major concerts by everyone from Macy Gray to Anthony Callea in their main 500-seat theatre, but they also have a smaller studio that’s ideal for productions like Heathers. It holds just 130, but every one of those seats was occupied on Sunday, as they had been all weekend. I love being a part of audiences like this, a small group where you know that everyone cares. They’re attentive, they radiate warmth and the players feed off it.

Those actors and actresses are not household names … yet … but they’re every bit as talented as the stars I’ve seen in major local productions. I worried that they may pale a little bit in comparison to the actors from the original 80s film I fell in love with as a teenager. Christian Slater was one of my big crushes of the period, largely due to his turn as JD, but I was impressed at the way Kane McCarthy made it his own. Winona Ryder was the It girl at the time, but Teaghan Thompson’s Veronica was perhaps even more compelling. I appreciated the way the musical made more of the character of Heather Chandler, and Jacqui Grunden rose to the challenge of playing the ultimate queen bee. Every time she stepped on stage I could barely take my eyes off her. What a superstar she is. But the entire ensemble never put a foot wrong. Everyone was right in their performances, and it was a joy to watch.

Looking around at audience members with their plaid skirts, blazers, and bows in hair, it was clear that many were already fans of the musical. But I appreciated discovering it for the first time on the stage with this incredible production. Curtain Bounce presents Heathers: The Musical until February 8. There are still some tickets left for the February 6 evening performance and February 8 matinee, but they won’t last long once word spread. Snap them up at the Art House website.

Posted on by Lauren Katulka

Rai Thistlethwayte & Ben Vanderwaal @ Avoca Beach Theatre, Darkinjung Country/Avoca Beach

It’s been an unseasonably cold, wet week, but I wasn’t going to let that stop me heading back to Avoca Beach Theatre for some more musical fun. I know it seems like I should just move in at this point, but when this incredible venue keeps bringing great acts to my local area it’s hard to resist the tickets!

I really love that Avoca is hosting so many up-and-coming local artists in their outdoor courtyard area. I’d thought these free shows may have only happened on weekends, but sure enough we had NEAV entertaining us on Thursday. I wrote about NEAV’s beautiful voice a few years ago, and I loved seeing how she’s maturing into such an incredible artist. Her set celebrated her original material while giving us a taste of her influences with some choice covers from Talking Heads and Travis. I just wish more people were around to see her set. While the courtyard was full before Jack Jones, just a few of us braved the cold and wind on Thursday night. You can’t control the weather, but I hope Avoca Beach Theatre have NEAV back when conditions are more favourable.

It was toasty warm inside the theatre when Rai Thistlethwayte and Ben Vanderwal took to the stage. I last saw Rai perform solo in 2011 and I must admit I expected more of the same. Thirsty Merc tunes stripped back with Ben taking a supporting role. In hindsight, despite the bandname on the drumkit, that was incredibly naïve. Spotify tells me Rai’s released plenty of solo material and a couple of EPs with Ben. I honestly don’t know how they escaped my attention, but after hearing the music on Thursday night I’ll make a point of diving deeper into it.

I write all this because I’m probably not the only one who hasn’t explored Rai’s less-commercial back catalogue. Thankfully I’m the kind of person who revels in discovering something new, and if I’m doing that at a gig I don’t mind at all. So I wasn’t disappointed that only four Thirsty Merc tracks made the set list and that they weren’t the ultra-successful singles. While I always enjoy them, I’ve probably heard Rai sing “In the Summertime” and “20 Good Reasons” enough times by now. But to hear him play deeper cuts like “DNA” and “Katie Q”? Priceless. However, others might not feel the same.

Rather than focusing on what didn’t make the set, I revelled in the fabulous songs so different to Thirsty Merc. Rai’s love of jazz shone through the extended jam sessions with Ben. I have a feeling the recorded versions are much more concise, but I love watching musicians feeling the music and the energy between them. I’ve always been impressed by Rai’s keyboard skills, and Ben may be one of the greatest drummers I’ve ever seen. It was a joy watching them collaborate.

The show was incredibly loose, and I ate it up. The stories were off-the-wall. We heard music we didn’t expect to hear. I know I’ll never get an instrumental version of the Beverly Hills 90210 theme at a Thirsty Merc show! A great gig should be like that, a moment in time that won’t ever be replicated. Yet those shows are becoming rarer as acts create rigid setlists and deliver rehearsed banter. So while it wasn’t the show I expected, I think that was a happy accident. If I’d known the show was so light on Thirsty Merc material, I may have decided to stay home, and then I would have missed this amazing night of entertainment.

Photo credit: Stephen Katulka

Posted on by Lauren Katulka

Jack Jones @ Avoca Beach Theatre, Darkinjung Country/Avoca Beach – 4 January 2025

Saturday night saw me back at my musical happy place, Avoca Beach Theatre. Here in Darkinjung Country/Central Coast we are so blessed to have this intimate “barn,” as co-owner Beth Hunter calls it, where some of the country’s best and brightest play. And it shows no signs of slowing down. In fact, things seem to be ramping up. I visited on Saturday night to see Jack Jones, but what I got was a whole lot more.

For the first time our evening started outside the theatre, where the venue is hosting summer sessions before the main gig. They’re free events that welcome all members of the community, including non-ticket holders and their furry friends. I’ve often enjoyed a glass of wine before the show in this lovely courtyard area, but adding live music to the mix takes the experience up a notch. It’s also such a great platform for emerging artists like the lovely folk singer who entertained us with her mix of original songs and classic covers. I just wish the artist was better advertised. A little sign saying her name or a reminder from the artist herself every now and again would have helped us all remember to support her in future.

The talent kept coming inside when Piper Butcher warmed up the stage. I’ve appreciated her music for a long time, but my admiration has gone up a notch after seeing her live. She has such a beautiful, warm personality that’s incredibly endearing. I loved hearing her stories about her career and where it might go next as she prepares to head to the United States for a month. Her music was also incredible. It takes a special something to capture an audience with predominantly original tracks they don’t know, but she held us all captivated. The only cover in her set – a bluesy take on Soft Cell’s “Tainted Love” – hinted at what could have been had she stayed longer in the Australian Idol competition. Piper also treated us to a few yet-to-be-released songs she recorded with Australian country royalty, Kasey Chambers. If there’s any justice, they may just be the tracks to give her the mainstream attention she deserves.

I’ve seen Jack Jones perform solo a few times now, and I keep coming back because he always impresses. His voice is flawless and his songs bring back such beautiful memories. It’s hard to believe I was 10 years old when his band Southern Sons released their first album. It gave us so many smash singles Including the beautiful “Hold Me in Your Arms” which Jack opened the show with. It takes such confidence to play such a beloved song so early, but this beautiful number set the tone for this special night. I loved hearing it and watching Jack’s face light up as we sang a chorus for him so sweetly. I only wish our singing was as good on “Always and Ever.” It seems like less than half of us knew the words, and try as I might I couldn’t quite make up for those who had faded away.

The show wasn’t all about the hits though. I loved hearing favourite album tracks like “Something More” and “Wildest Love,” who he dedicated to his partner in the audience. He also treated us to some music from his time performing under his birth name, Irwin Thomas. I remember seeing him at that time supporting Matchbox Twenty and it wasn’t my thing. Hearing these songs stripped back though has helped me appreciate them all these years later. There were new songs too from an EP or album to come. That’s right readers; Jack Jones isn’t done creating music.

As with the last time I saw Jack, he regaled us with generous stories with many tangents. We heard all about his lock down experiences and the recent losses in his life which still bring tears to his eyes. He joked that chatting to us was like therapy; his walls were certainly down. I love when an artist lets us in like that and we get to see the human behind the music.

This was one of the longer concerts I’ve attended at Avoca Picture Theatre. Jack was so chatty that he had to ask whether there was a curfew because he understood his stories had taken up a lot of time. Thankfully there wasn’t and none of us had a better place to be. And so we all took our time, and yet it still felt like it wasn’t enough when Jack hit the opening notes of “Heart in Danger.” And yes, we all sang along.

Later this month Jack will start celebrating the 35th anniversary of Southern Sons with a string of shows around the country. Check back here for a review of the Darkinjung Country/Wyong gig after it happens. Tickets are limited so make sure you snap up yours soon.

31 January 2025 – Kings Theatre @ Event Centre, Kabi Kabi and Jinibara Country/Caloundra
1 February 2025 – Twin Towns Showroom, Bundjalung Country/Tweed Heads
7 February 2025 – The Wedge, Wayput/Sale
8 February 2025 – Wonthaggi Union Community Arts Centre, Boonwurrung Country/Wonthaggi
21 February 2025 – Lighthouse Theatre, Gunditjmara Country/Warrnambool
22 February 2025 – Wendouree Performing Arts Centre, Ballaarat/Ballarat
28 February 2025 – The Art House Theatre, Darkinjung Country/Wyong
1 March 2025 – Anita’s Theatre, Thurrural/Thirroul
7 March 2025 – Yan Yean Theatre, Wurundjeri Balug and Wurundjeri Willam Country/South Morang
8 March 2025 – Arts Centre, Monmar/Frankston
14 March 2025 – West Gippsland Arts Centre, Darug Country/Warragul
15 March 2025 – Ulumbarra Theatre, Dja Dja Wurrung/Bendigo
21 March 2025 – Country Club Showroom, Kanamaluka/Launceston
22 March 2025 – West Point Showroom, Nipaluna/Hobart
12 April 2025 – Astor Theatre, Boorloo/Perth
2 May 2025 – Alpine MDF Theatre WPACC, Bpangerang/Wangaratta
3 May 2025 – Palms at Crown, Naarm/Melbourne
19–26 October 2025 – Rock the Boat, leaving from Eora/Sydney

Photo credit: Lyn Foreman and Lauren Katulka

Posted on by Lauren Katulka

Ross Wilson @ Avoca Beach Theatre, Darkinjung Country/Avoca Beach

Ross Wilson’s music crosses generations. So when my husband and I heard he was celebrating 50 years in the business with a show at Avoca Beach Theatre we knew tickets would be the perfect Christmas present for my parents. On a Monday that felt like a Saturday, our two generations shuffled in to one of our favourite local venues.

Local band The Cat Snatchers warmed up the crowd with what can best be described as their own brand of yacht rock. But that doesn’t quite cover what this four-piece does. Arthur Pratt is a charismatic frontman who spices up his performance with Elvis Presley-esque karate moves and a little interpretive dance. We saw Toby Wells perform with Elaskia just before the pandemic, and it seemed like he was finding his feet as an artist. This band feels like home for him. He’s got space to shred and show off his sizeable guitar chops. Their set wasn’t perfect. Arthur struggled at times to hit the ambitious falsetto notes and the songs were pretty simplistic. But I imagine that if I saw The Cat Snatchers, a few times I’d be singing along. I was thoroughly entertained by this off-the-wall act. While many around me weren’t as enthusiastic, I followed their socials as soon as their set wrapped up.

While The Cat Snatchers were a little polarising, Ross Wilson had everyone on side from the triumphant opener, “Daddy’s Back”. His set was everything that I hoped it would be. He delivered hit after hit, with a smattering of unexpected songs to satisfy the die-hards. There were the Daddy Cool and Mondo Rock classics of course, along with some choice solo cuts. While Ross clearly appreciates the audience reception to his biggest hits, he’s not content to rest on his laurels. “She’s Stuck on Facebook All The Time” wasn’t released to a lot of fanfare in 2023, but it’s such a great addition to his set. I also appreciated watching him recreate the blues tunes that got him excited about music in the first place. His version of “Back Door Man,” made famous by Howlin’ Wolf. Other songs were rearranged to keep them fresh without straying too far from their original magic.

Ross is a joy to watch. He grooves around the stage, soaking up the energy from his band The Peaceniks and the crowd. He chats easily to the audience, sharing his passion and life story with his fans. And after 50 years in the business, his voice shows little signs of slowing down.

It’s a testament to Ross’s exhaustive catalogue that when we were cheering for an encore, my husband and I weren’t sure what he had left to play. He’d already gifted us “Eagle Rock,” “Come Said the Boy,” “Cool World,” “State of the Heart,” “Bed of Nails,” “Hi Honey Ho,” and so many more. I guessed “Touch of Paradise,” but that didn’t quite seem like a closer. He played it and it was amazing, before transitioning into “Summer of ‘81.” It was the cherry on top of an amazing night of music, a track I hadn’t anticipated but relished all the same.

Looking back at this blog, I hadn’t seen Ross perform for eight years. I’d had a wonderful time, so I wonder now why I left it so long. My only explanation is that people like Ross just seem like they’ll always be there. They tour relentlessly, so perhaps we don’t feel the same urgency to make the shows as we do when international acts visit. But it’s easy for the years to slip by. If it’s been too long since you’ve seen him perform, or you’ve never had the pleasure, make sure you don’t miss one of his upcoming shows.

31 December 2024 – Avoca Beach Theatre, Darkinjung Country/Avoca Beach (SOLD OUT)
3 January 2025 – Shearwater Resort, Panatana/Port Sorrell
4 January 2025 – Scamander Beach Resort, Paredareme Country/Scamander
5 January 2025 – Dodges Ferry Hotel, Panatana/Lewisham
12 January 2025 – The Pig & Whistle, Bunurong Country/Red Hill (SOLD OUT)
16 January 2025 – Lighthouse Theatre, Gunditjmara Country/Warrnambool
17 January 2025 – Sir Robert Helpmann Theatre, Berrin/Mount Gambier
25 January 2025 – MeMo Music Hall, Euro-Yroke/St Kilda
1 February 2025 – The Palms at Crown, Wurundjeri Woi-wurrung Country/Southbank
2 February 2025 – Archie’s Creek Hotel, Gunaikurnai/Archie’s Creek (SOLD OUT)
5 February 2025 – Federation Square, Naarm/Melbourne (FREE)
21 February 2025 – Bribie Island Hotel, Quandamooka/Bellara
22 February 2025 – Agnes Blues Roots and Rock Festival @ 1770 SES Grounds, Gooragan/1770
23 February 2025 – Soundlounge, Yugambeh Country/Gold Coast
28 February 2025 – The Lounge @ The Concourse Theatre, Gamaragal Country/Chatswood
1 March 2025 – Girrakool Blues Festival, Darkinjung Country/The Entrance (FREE)
2 March 2025 – Manning Entertainment Centre, Biripi Country/Taree
14 March 2025 – Tanks Art Centre, Yidinji Country/Edge Hill
16 March 2025 – Musicland, Wurundjeri Woi-wurrung Country/Fawkner
22 March 2025 – Theatre Royal Castlemaine, Dja Dja Wurrung Country/Castlemaine
6 April 2025 – Burrinja Theatre, Wurundjeri Country/Upwey
11 April 2025 – Centenary Hall, Ngarrindjeri Country/Goolwa (SOLD OUT)
12 April 2025 – Bridgeway Hotel, Tarntanya/Adelaide
13 April 2025 – Big Easy Radio, Ngaltingga/Aldinga (SOLD OUT)
1 May 2025 – Bird’s Basement, Naarm/Melbourne
2 May 2025 – Bird’s Basement, Naarm/Melbourne
3 May 2025 – Bundy Hall, Gunaikurnai/Bundalaguah (SOLD OUT)
8 May 2025 – Avoca Beach Theatre, Darkinjung Country/Avoca Beach
9 May 2025 – The Juniors @ Kingsford, Eora/Sydney
11 May 2025 – Evan Theatre @ Penrith Panthers, Eora/Sydney
12 June 2025 – The Playhouse @ Canberra Theatre Centre, Ngambri/Canberra
13 June 2025 – Bathurst Memorial Entertainment Centre, Dalman/Bathurst
14 June 2025 – Cowra Civic Centre, Ngoura/Cowra
20 June 2025 – Theatre Royal, Nipaluna/Hobart
21 June 2025 – Princess Theatre, Kanamaluka/Launceston
22 June 2025 – Burnie Civic Centre, Pataway/Burnie
27 June 2025 – Her Majesty’s Theatre, Ballaarat/Ballarat
28 June 2025 – Clocktower Centre, Wurundjeri Woi-wurrung Country/Moonee Ponds
11 July 2025 – The Art House, Darkinjung Country/Wyong
12 July 2025 – Glasshouse Theatre, Guruk/Port Macquarie
13 July 2025 – Capitol Theatre, Kamileroi Country/Tamworth
21 August 2025 – Mundi Mundi Bash @ Mundiville, Willyama/Broken Hill
26 October 2025 – Rock the Boat Cruise, Eora/Sydney

Photo credit: Stephen Katulka

Posted on by Lauren Katulka

Jesus Christ Superstar @ Capitol Theatre, Eora/Sydney – 4 December 2024

I’m easing myself back into work thanks to the wonders of speech-to-text technology. First on my to-do list was sharing my thoughts on the wonderful production of Jesus Christ Superstar playing in Eora/Sydney at the moment. I had tickets to the show the day after my car accident, so I was a bit sore and sorry as I bundled myself onto the train, but I’m so glad I pushed through the pain. I’ve seen three or four productions of Superstar over the years, and this was definitely among the best.

I felt excitement bubbling up as the familiar “Overture” began. Then with “Heaven on Their Minds” we were introduced to the incredible Javon King as Judas. What a great voice he has. What a presence. I didn’t know him before this production, but I will watch his career closely from now on. The entire cast was sensational. The casting of Mahalia Barnes as Mary was one of the key draw cards for me, and she did not disappoint. She brought such a beautiful warmth and heart to the role, and what a voice she has. I was also really excited to see Reuben Kaye playing Herod. He was brilliant. Honestly he may be my favourite Herod ever. He had just the right blend of humour and malice. My parents weren’t familiar with him but they walked away fans. I was also really impressed by Peter Murphy’s Pilate. Unfortunately Michael Paynter didn’t appear in our matinee. While the understudy was great, I was really looking forward to his Jesus. I also wonder whether Michael’s voice may have contrasted better with Javon’s. JC simply works better when you can hear the difference between Jesus and Judas.

This production feels so new and fresh. The music doesn’t seem to age. The energy of the cast is palpable. I also really liked artistic choices like bringing the microphones into the scenes and having the crucifix as a key part of the set. The use of glitter was very effective in places, although I’m not sure it was as powerful as it should have been while Jesus received his lashes. Overall, I think the team behind this version of JC has done an incredible job. Whether you’re a long-time fan like many or new to the musical, make sure you don’t miss it.

Jesus Christ Superstar will play at the Capitol Theatre until January 26. It’ll then head to Boorloo/Perth in February and play Naarm/Melbourne in March before travelling to Meeanjin/Brisbane in June.