Category: Concert Reviews

Posted on by Lauren Katulka

Conchita Wurst & Trevor Ashley @ State Theatre, Sydney – 27 February 2020

My husband and I lovingly call Eurovision 2014 the “Year of Awesome.” I’ve watched the European song contest since the ’90s, but I can’t remember falling in love with so many acts. We still regularly bust out The Common Linnets, Pollaponk, Carl Espen, Basim, Paula Seling & Ovi, and more. We insist that on any other year, they could have taken the title. But it was the queen, Conchita Wurst, who held that trophy aloft. That she beat out such quality acts is testament to her magnetism. Her James Bond theme-esque “Rise Like a Phoenix” was a modern masterpiece, but her diva delivery added that exquisite X factor. She remains one of my favourite Eurovision winners to this day. My husband and I saw her at the Sydney Opera House on her debut Australian tour and we were back for more at the State Theatre last night.

This time around Conchita was sharing the spotlight with Trevor Ashley, one of her special guests on the previous tour. Trevor kicked off festivities, looking resplendent with a blonde wig and sparkly silver ensemble. I was in raptures through renditions of some of my favourite camp classics, hits from Barbra Streisand, Dusty Springfield, Peter Allen and the like. It was fabulous fun, a celebration of stellar vocals and theatrical performances. The accompaniment of that incredible orchestra elevated the songs even further, giving them just the right amount of gravitas.

I was having such a grand time with Trevor that I didn’t mind how long Conchita kept us waiting. When she did eventually grace the stage though, it was worth the wait. She’s ditched the long wigs, preferring the rock her natural cropped do these days. She’s beautiful either way, and looking every inch the star with her own sparkly silver dress and matching Christian Louboutin heels. Yes, I am envious. Conchita’s first set focused on her originals rather than singalong show tunes but I was still transfixed. She has so much charisma and her vocals are flawless. What a talent she is!

The second act saw more fabulous frocks and a greater emphasis on collaboration. Trevor and Conchita’s affection for one another is obvious and they bounce off each other delightfully. I loved their take on “Colours of the Wind” from Pocahontas and duelling James Bond themes: “Diamonds Are Forever” for Trevor, “The Writing’s on the Wall” for Conchita, a duet of “Goldfinger” and Trevor’s Shirley Bassey-take on Adele’s “Skyfall.” It wasn’t the only time Trevor surprised us with a perhaps not to surprising Shirley Bassey-esque cover. I couldn’t imagine how the glamorous Welsh Dame would sound belting out Foreigner’s “I Want to Know What Love Is,” but I’d be surprised if it didn’t sound just like Trevor’s rendition. Absolute genius. Special guest Kate Miller-Heidke also graced the stage in this half of the show. We were all keen to hear “Zero Gravity” but she made us wait a little, treating us instead to a number from her opera for kids, The Rabbits. It was another unexpected choice, but a beautiful one. And when she did finally get to last year’s Eurovision highlight, we got goosebumps. Conchita teased an early exit, but there was no way she could leave before “Rise Like a Phoenix.” I’ve seen her perform it countless times since 2014 but it has lost none of its potency. What a fitting end to a gloriously camp night with two, no, make that three, of the world’s greatest divas.

Image source: own photos

Posted on by Lauren Katulka

Red Hot Summer @ Roche Estate, Pokolbin – 15 February 2020

I’m pretty sure I’ve never had a weekend as jam-packed with music as last weekend. I wrote about Fire Fight yesterday, but before all that went down I was dodging showers in the Hunter Valley at Red Hot Summer. Those storms meant this year’s event wasn’t as steamy as previous affairs, but the action on the big stage certainly lived up to the tour’s moniker.

I have been waiting an age to see Boom Crash Opera live. This blog tells me that it was 2014 when my parents were running so late to a Day on the Green concert that I only caught the tail-end of their set. In the years since, Dale Ryder left the band and rejoined! To say I was anticipating their set was an understatement, but they delivered everything I hoped. All the hits performed with the sort of energy and flair that makes you forget this band has been kicking around since the 80s.

Killing Heidi were another act I’ve always enjoyed but never managed to catch live. I’m pretty sure they haven’t lost anything over the years though. Their sound is just as tight as ever, and I can’t imagine Ella Hooper was any more energetic in her teenage years. She knows how to command a stage, bouncing around with a joy and confidence that’s so mesmerising to watch. It’s been a long time since I was an angsty teen, but songs like “Mascara” and “Weir” still resonate. Not even the first of the afternoon’s downpours can dampen the crowd’s enthusiasm.

We went from one strong female-fronted rock act to another, with Baby Animals taking the stage next. They broke the mould when they made Suze DeMarchi. She’s such a strong frontwoman, delivering the band’s hits with a cool confidence that draws you in. Those hits came thick and fast, encouraging the crowd to join their voices for songs like “Painless,” “Early Warning,” and “One Word.” They’re another act that seem to have lost nothing over the years. What a class act.

The Hunter Valley crowd was already enthusiastic, but their excitement certainly kicked up a notch when The Angels took to the stage. I first saw the Dave Gleeson-fronted outfit back in 2014, before Doc Neeson left us. At the time there was a little unease about the situation because this band was born out of a rift between Doc and the Brewster brothers. Now though time has healed all wounds and this band seems like a wonderful way to honour Doc’s musical legacy. Those songs are what matters, and Dave Gleeson performs them with the right blend of reverence and irreverence. It was enough to convert a friend of mine, who arrived at the gig a sceptic but emerged from the sweaty mosh pit singing Dave’s praises.

The Angels turned things up to 11 but The Living End kept the dial right there. They are another ‘90s act who age has not wearied. Their brand of punk is every bit as loud and defiant, their sound every bit as tight. They admitted they might struggle to get the crowd participation The Angels did with “Am I Ever Gonna See Your Face Again,” but I think we all gave it a crack joining in with “Prisoner of Society.” Theirs was the performance of the day for me.

I do have a soft spot for James Reyne though. His mellow numbers gave us all a chance to catch our breath, enjoy a couple of wines and sing along. We probably aren’t getting all the words right, mind you, but the intent is there. James is always reliable and appreciated, delivering a greatest hits set which draws from his days with Australian Crawl, Company of Strangers, and his solo years. I’ve gushed about his performances before and I no doubt will again. They don’t reinvent the wheel, but they are so solid that I will never tire of them.

Hunters & Collectors were our headliners, an understandable decision since they haven’t toured together since 2014. The big hits certainly went down a treat. The crowd lapped up singalong favourites like “Holy Grail,” “When the River Runs Dry,” and “Throw Your Arms Around Me.” The band sounded so tight, I couldn’t fault what they did. However, this is my fourth Red Hot Summer tour. The headliners usually get the crowds up on their feet, singing along to every song. This time around I found I could sit on my camp chair and enjoy a clear view of the stage, especially once the crowd started clearing out. I’m sure the punters down the front who anticipated the band’s return were satisfied, but for so many of us casual radio fans the more experimental tracks in their set didn’t resonate. I can’t help thinking that they would have been better suited to an earlier slot with a pared-down set that focused on the hits. Red Hot Summer gigs aren’t like typically concerts; people aren’t just there for the headliners. They attract a wider audience and as such the headliners really need that widespread appeal. When you lose so much of the crowd before the end, I think it’s a sign the wrong call was made.

Questions about running order aside, Red Hot Summer has grown over the last 10 years to become one of the best festivals in the country. Its focus on Australian acts and commitment to visiting regional areas are to be commended. I’ve attended events in Port Macquarie, Kariong, and the Hunter Valley and they always have such good vibes. The organisers might not always get everything right, but they come pretty close. I’ll be eagerly awaiting the announcement of next year’s line-up. Red Hot Summer tickets are rarer than hen’s teeth, but if you can find some I highly recommend getting along to one of the remaining shows.

22 February 2020 – Sandstone Point Hotel, Bribie Island
23 February 2020 – Queens Park – Frogs Hollow, Toowoomba
29 February 2020 – Sandstone Point Hotel, Bribie Island
1 March 2020 – Harrigans Drift Inn, Jacobs Well
7 March 2020 – Mackay Park, Batemans Bay
14 March 2020 – Kiama Showgrounds, Kiama
21 March 2020 – Gateway Lakes, Wodonga
28 March 2020 – North Gardens, Ballarat
29 March 2020 – Seppeltsfield, Barossa Valley
4 April 2020 – Lazy River Estate, Dubbo
11 April 2020 – Darwin Amphitheatre, Darwin
18 April 2020 – Barlow Park, Cairns
25 April 2020 – Mornington Racecourse, Mornington
26 April 2020 – Noosa & District Sports Complex, Noosa

Image source: own photos

Posted on by Lauren Katulka

Fire Fight Australia @ ANZ Stadium, Sydney – 16 February 2020

As I write, bushfires continue burning in Victoria and southern New South Wales. At least 28 people have died, around 3,000 homes have been lost, around 18 million acres have burned, and countless animals have died or been severely burned. The statistics could make you despair, but that’s not what Aussies are about. We’re the kind of people who see a problem and take matters into our own hands. We band together and do what we can to make things better. That’s why 75,000 Aussies from across the country and I headed to Sydney’s ANZ Stadium yesterday. Oh, and there might have been the added incentive of one of the best concerts the country has ever seen: Fire Fight Australia.

I firstly want to give a shout-out to TEG Dainty for putting together such a stellar line-up. It was a show that offered something for everybody with acts that crossed generations and genres. I like to think everyone discovered a new act or enjoyed a performance they didn’t expect to. For me, those unexpected moments of enjoyment came watching Baker Boy, Hilltop Hoods, and Peking Duk. I won’t say that I didn’t enjoy their music but I certainly wouldn’t have categorised myself as a fan. However, it was impossible not to get swept up in the energy of what these acts do. They were so much fun, I can understand why the younger punters on the dancefloor were anticipating their sets. Brilliant stuff with a few special guests including Montaigne and Ecca Vandal thrown in the mix.




There were also several acts whose music I’ve enjoyed but had never seen live before. Illy’s set was pure joy while Amy Shark’s had so much heart. I loved the energy of 5 Seconds of Summer. I’m not sure I’ve ever seen a drummer give as much as Ashton Irwin to a performance! Delta Goodrem had me squealing with her nostalgic set. Her medley of hits was a wonderful way to get around the standard four-song set! Guy Sebastian and Jess Mauboy have such incredible voices in the flesh.


Then there were the artists we expected goosebumps from. If these legendary performers felt the weight of expectation, they didn’t show it. Alice Cooper gave an absolute rock masterclass. What a showman he is. I first saw him with the Ultimate Rock Symphony tour around 20 years ago and he has lost nothing since then. Queen might not be the same band they were when they played their original Live Aid set, but Adam Lambert was there to silence any naysayers who insist he’d not Freddie Mercury. Of course he’s not, but he doesn’t try to be. I’ve been a fan since his American Idol days, and I think he’s such a worthy successor. What a voice, what charisma.


I initially questioned the decision to put k.d. lang on after the Hilltop Hoods but when she stepped on stage after the names of people we lost in the bushfires were beamed onto the giant screens it made total sense. She was like an angel dressed in white, with her haunting voice delivering such perfect song choices: “The Valley” and “Hallelujah” from Hymns of the 49th Parallel. This quiet, reflective moment near the end of the party reminded us all of the reason we were there. However, we couldn’t stay somber for long, with Icehouse, John Farnham, and Olivia Newtown-John rounding out proceedings. They performed songs that are such an important part of the fabric of this country, the kind of songs that bring the voices of generations together. The feeling of singing songs like “Great Southern Land” and “You’re The Voice” with 75,000 Aussies was something I’ll never forget.

Full credit to the organisers of Fire Fight Australia, the artists who so generously gave their time, and of course the firefighters and first responders who we celebrated at this show. The event raised closed to $10 million to help bushfire recovery, relief, and rehabilitation efforts and gave all of us who were a part of it memories to last a lifetime. If you want to help boost the fundraising efforts, you can still buy event T-shirts at Cotton On stores and online.

Image source: own photos

Posted on by Lauren Katulka

Cold Chisel @ Heifer Station, Orange – 1 February 2020

As a proud Coastie, I don’t tend to travel more than an hour up or down the freeway to attend shows. My easy proximity to Sydney, Newcastle, and the Hunter Valley is one of my favourite parts about living on the Central Coast. However, when Cold Chisel announced their Blood Moon tour, I knew it was time to put a full tank of petrol in my Nissan Micra and head off on a road trip. I haven’t quite gotten over my beef with Hope Estate and while this Parramatta fan loves Bankwest Stadium as a place to watch the footy, it’s not where I want to see live music. With friends living in the Central West, a trip to Orange for Heifer Station’s first-ever Day on the Green seemed just the ticket.

I’ve attended Day on the Greens that were all-day events, but thankfully the organisers were smarter than that. They probably had an inkling that it would still be pushing 40 when the gates opened at 4. With concerts like this when seats aren’t reserved, I would normally be amongst the first to walk in. But I am not built for Central West heat. Spending more time in the air-conditioned wineries was a much more appealing option than braving the conditions outdoors. Consequently, we missed up-and-comer Josh Maynard, arriving just as Magic Dirt started their set.

I must admit, I wasn’t a Magic Dirt fan back in the ‘90s. Today it seems I’m still not a Magic Dirt fan. I have great respect for the way Adalita rocks out, presenting a strong female image that we don’t see enough of. But the band’s songs just don’t resonate with me. I tried, but it’s just not my cup of chai. I’m really not sure they were the right choice for the bill, because they certainly weren’t the Triple M staples, but I have to respect that they did things their way.

Birds of Tokyo though were pitched just right. I have always enjoyed their music on the radio but never felt compelled to see them live or buy any of their music. I thought them pleasant, but just a little middle of the road. I have completely changed my tune though. What a charismatic frontman Ian Kenny is. What a tight band they are, sounding just as strong as they do on their recordings. I also didn’t realise quite how many songs I knew. I was pretty excited about Chisel, but I was happy to watch these guys perform for as long as they were prepared to. I’ll definitely have to check them out again.

Cold Chisel was really what got me there though. We might have been roasting, but we somehow found the energy to get to our feet and give these guys the welcome they deserved. They might have officially been on the road to promote the new album, but I’m not sure they got that memo. They seemed far more interested in giving us a greatest hits set. They opened up with “Standing On the Outside” and never really took their foot off the pedal. They played the occasional track from the new release of course, but that seemed like an act of goodwill so we could take a moment and catch our breaths.

We bought the tickets in the back section, where camp chairs were allowed, believing we were too old to stand around all day. However, these guys gave us all a second wind. We’d take a load off for a moment, but then find ourselves standing second later because we had to dance to this one or that.

I was especially thrilled that two of my underrated favourites, “Four Walls” and “Breakfast at Sweethearts” made the set. There’s probably nothing more Australian than singing along to tracks like “Khe Sahn” and “When The War is Over.” And there’s really something special about being in a crowded field on a Saturday night, joining Jimmy and the boys for a raucous rendition of their song celebrating that special part of the week. Ian Moss’s starring turn on “Georgia On My Mind” was another absolute highlight.

By the time the band played “Goodbye Astrid Goodbye,” the traditional closer, I was spent. It was still hot as hell, and the dust storm that had rolled in was playing havoc with my sensitive asthmatic’s lungs. But would I do it all again for a show this good? In a heartbeat. Apparently Heifer Station gets its next Day on the Green in November. Don’t be surprised if I make that trip down the freeway again for more.

Cold Chisel wrap up their Blood Moon tour with two shows at Sirromet Wines in Mt Cotton this weekend.

Image source: own photos

Posted on by Lauren Katulka

Thirsty Merc @ Ettalong Diggers, Ettalong Beach – 25 January 2020

You know a band is enjoying an extensive tour of the country when they call into the Central Coast. Gigs are a little light on in my part of the world, so when they do happen there’s a real sense of occasion. Looking around the auditorium at Ettalong Diggers last Friday night I saw people from all walks of life, the die-hard fans and the people who enjoyed a few Thirsty Merc songs on the radio and thought they might as well come along. And for $35 for members, why wouldn’t you?

Up-and-coming local talents Toby Wells and Elaskia joined forces in the supporting slot. They were lovely together, although you got a sense that they were still figuring out how to meld their material as a double act. While their set could have been more cohesive, their voices complemented each other beautifully. When they harmonised it was really something special. The set was also an excellent opportunity to showcase their strong original songs. They’re young, but it wouldn’t surprise me if they become truly great with a little seasoning.

Thirsty Merc are one of the most reliable rock bands in the country, and they didn’t put a foot wrong on the Ettalong stage. The set was the perfect mix of album tracks for the die-hards and radio hits for those people who just had nothing better to do with their Friday night. My husband and I put ourselves in the former camp and were thrilled to hear such stellar renditions of “Build a Bridge” and “Undivided Love.” Rai Thistlethwayte is such a charismatic frontman and an accomplished musician, whether he’s on the keys or guitar. He’s such a star, but the show wouldn’t be as good if this band wasn’t as tight. Most of these guys have been playing together for nearly 20 years (are we feeling old yet?), and that shared history shows in what they do on stage.

We left the auditorium buzzing and thrilled we only had a couple of minutes’ drive to get home. What a treat. Keep booking gigs of this quality Diggers and we’ll be there every time! Thirsty Merc have a handful of shows left on their Thirsty Merc Live! tour. Catch them at the following venues.

8 February 2020 – Charles Hotel, North Perth
29 February 2020 – Rainbow Beach Sports Club, Rainbow Beach
6 March 2020 – Brighter Days Festival, Bright
14 March 2020 – Riverdaze Festival, Barham

Image source: own photos

Posted on by Lauren Katulka

Rob Thomas – Sydney and Hunter Valley, 13 and 16 November 2019

Live music always makes my heart beat faster. However, there is one artist on the planet that takes my excitement to the next level: Rob Thomas. Whether he’s fronting Matchbox Twenty or playing solo, he is the performer who has the largest piece of my heart. His Chip Tooth Tour was a long time coming, nearly four years since his last Australian dates, so by the time last week rolled around I was more than ready.

One Rob Thomas show isn’t enough for me. I considered writing two reviews, one for Sydney and another for the Hunter Valley, but frankly the week passed in a whirlwind and now here I am, basking in the afterglow. Sydney was the perfect warm-up. First State Super Theatre strikes the right balance; it’s small enough to feel intimate but not so tiny that it can’t attract big acts for their only gigs in the NSW capital. The Hunter Valley show was part of the Day on the Green series. These events always seem so leisurely and relaxed, with so many good vibes. Sorry Sydney, but it also seemed to have the best crowd. Maybe I was just unlucky with seating in Sydney, but it was so nice to travel up the freeway to be amongst fans who seemed to care more about the music than making trips to the bar!

I’m glad that Daryl Braithwaite was the support act we doubled up on. I’ve made mention in the past of his voice fading, but I think he was in the best form I’ve seen in a while. You can still hear the limitations at time, but it’s a minor quibble from an artist who delivers so much. His set was packed with his Sherbet and solo hits, although an unexpected cover of The Kinks’ “All Day and All Of The Night” was a welcome addition in Sydney. What a shame the Hunter Valley security decided to try to make everyone sit down just before “The Horses.” Thank you, Daryl, for insisting it wouldn’t hurt us to rise to our feet for a couple of minutes! Staying seated for this unofficial anthem just wouldn’t have felt right!

The Hunter Valley’s extended line-up saw Russell Morris and Pete Murray joining us. I raved about Russell when I saw him at the same venue a couple of years ago and he was every bit as appealing this time around. His voice shows no sign of fatigue, impressive at the age of 71. He has so many hits to his name and they came thick and fast, rewarding those of us who arrived early enough to catch his set. He really deserved better than so many vacant seats. He was excellent.

I wish I could get as excited about Pete Murray, but for not the first time I just wasn’t feeling it. Ordinarily I can’t get enough of good-looking men who play guitars, but his songs never seem to get out of second gear for me. He performs them well, sounding virtually identical to the way he does in the studio, but I just can’t muster any kind of enthusiasm for them. Putting Pete after Daryl Braithwaite, who had me and so many of the folks around me, so fired up also seemed a bit cruel.

Whether I couldn’t wait for the support act to vacate the stage (sorry Pete) or I embraced their set (love your work Dazza!), I was primed for Rob Thomas. Opening with a new album track like “I Love It” was a risky move, but it was really the perfect introduction to Rob’s set; upbeat, engaging, and sexy as hell. It might have been called the Chip Tooth Tour, but Rob knows how to strike the right balance for serious fans and casual listeners. I would have liked to hear more from the new album, Chip Tooth Smile, but the four or five songs he played from it made space in the set for more songs from the back catalogue. The solo hits and Matchbox cuts came thick and fast, along with a smattering of lesser known songs for the diehards like me. I was thrilled to hear “Sunday Morning New York Blue,” an EP track, and fan favourite “Pieces” make the cut in the Hunter, while “Heaven Help Me” was an unexpected delight in Sydney. “Fire on the Mountain isn’t one of my favourite album tracks, but it really gets a new power on the stage. Adding Indigenous dancers to the mix in Sydney brought some extra gravitas.

Speaking of surprises, they don’t get much bigger than Andrew Farriss from INXS gracing the stage for a cover of “Never Tear Us Apart” in the Hunter. The chemistry between the longtime friends and the quality of this Aussie classic made it a real moment to remember. If you can’t get Santana out here for “Smooth,” then 10-year-old guitar prodigy Taj Farrant makes an impressive substitute.


It seems to me like Rob is aging in reverse. I think it’s the only reasonable explanation for his boundless energy. He put on a rock star performance, without the bells and whistles of so many modern rock shows. Without projections or pyrotechnics, the focus was squarely on the music and the way Rob delivered it. Most of his band has been with him since his first solo tour, and it shows. However, as much as I appreciate the big full-band numbers, it was the quieter, more reflective times in the set that really got me. I don’t mind saying that I found myself wiping away tears in acoustic performances of “Ever the Same” in Sydney and “Bent” in the Hunter. With an acoustic guitar and Rob’s voice, supported by a choir of enthusiastic fans, those songs were as raw as the emotions they stirred in me.

When you anticipate a tour as much as I did this one, it can sometimes be hard for the performer to meet your expectation. But I know Rob never lets me down. Like a fine wine, he only seems to get better with age. The dust may still be settling on my recent shows, but I’m already hanging out for the next tour. Rob Thomas plays Margaret Court Arena in Melbourne tonight before concluding the Chip Tooth Tour at Perth’s Kings Park on November 23.

Image source: own photos

Posted on by Lauren Katulka

Paul McDermott & Gatesy Go Solo – Laycock Street Theatre, Gosford – 12 November 2019

Paul McDermott and Stephen “Gatesy” Gates are Aussie comedy royalty. I’ve admired both their careers for so long. As a teenager I listened through headphones to Doug Anthony All-Stars music that I’d taped onto cassettes borrowed from friends. They were deliberately mislabelled because my parents forbade me from hearing such smut. Tripod were one of the first Aussie bands I introduced by comedy-loving American husband to. I have such fond memories of their respective musical outputs, so when I heard they were teaming up for a Laycock Street Theatre in Gosford, I snapped up tickets.

Normally when I buy tickets for a show, I have some idea what I’m going to get, but I was flying blind on this one. I expected laughs, and I got them. Music with blissful harmonies of course, check. But as for the material, I wasn’t quite sure. As it turns out, these shows are fresh as a daisy with brand new collaborative material. That might disappoint some fans of DAAS or Tripod, but I think the shows are better for it. I have such fond memories of hearing the songs from these acts in the original trios. I don’t need to hear them taken out of that environment. Some of that comedy material has also dated too. It’s much more fun today to hear songs about hot button issues like white male privilege and our current leader’s failings, for example.

This might be a fairly new musical collaboration for Paul and Gatesy, but their 18-year friendship has created a rapport that’s delightful to watch. They bickered and bantered, creating moments every bit as hilarious as the songs. Laycock Street Theatre is divided into two halves, perfectly setting up a Paul’s side versus Gatesy’s side dynamic. I’m not sure we ever determined whose side was better, but it was so much fun to play along.

It wasn’t all laughs though. Tragedy is always the flipside of comedy, something I was reminded of in the final numbers of the show. While the “The Marvellous Mr Me” was a side-splitting response to a particularly scathing phone call Paul received, the next song was a much more sombre take on the same criticism. I found myself dabbing at tears as Paul and Gatesy sang a beautiful number about a mutual friend who lost her life too soon. These poignant moments were unexpected, but that added to their potency.

With the fire threat looming, only a small crowd turned out for the show. What was already so intimate became moreso when Paul and Gatesy told us to head out to the foyer for the encore. Paul took his place atop tables and they played a few more numbers, unaided by microphones or amps. Paul insisted he doesn’t like to get too close to the people, but after witnessing this delight of a show, I’m not sure I believe him one bit.

Paul McDermott & Gatesy Go Solo will play the following venues next!

15 November 2019 – Orange Civic Theatre, Orange
22 November 2019 – Ballarat Civic Hall, Ballarat
23 & 24 November 2019 – Caravan Music Club, Bentleigh
24 November 2019 – Queenscliff Music Festival, Queenscliff
5 November 2019 – Canberra Theatre Centre, Canberra
6 November 2019 – Riverlinks Westside, Shepparton

Image source: own photo

Posted on by Lauren Katulka

One Electric Day @ Cockatoo Island, Sydney – 9 November 2019

After six successful Victorian events, One Electric Day decided to share the love and go national. Sydney responded, snapping up so many tickets organisers moved the show to the picturesque Cockatoo Island. While arriving for that early morning ferry meant this Central Coast girl set off around 8am, the beautiful trip down the harbour helped me get into the spirit. What a magic spot Cockatoo Island is. It didn’t hurt that we were blessed with the kind of weather I rarely experience during outdoor concerts, with beautiful blue skies and mild temperatures. Absolutely perfect.

After playing MC, Taylor Sheridan strapped on his acoustic guitar for the first set of the day. I’ve seen talented singer-songwriter play at several Red Hot Summer shows and he always impresses. He played some stellar originals and just enough covers to keep the punters on side, although that was a real challenge when his set was broken into two parts. I’m not sure who thought it would be a good idea for him to play two sets, but as his second act wore on I could sense most of us were ready for the bigger names. It’s a shame, because he really is a talent.

No doubt some of my restlessness can be attributed to my excitement about seeing Southern Sons. I was just 14 when the Melbourne outfit disbanded, too young to go to the shows. Hearing they would play together again was all the incentive I needed to snap up tickets. After waiting a quarter of a century for this set, you can bet my expectations were high. Southern Sons did not let me down though. I knew Jack Jones was still in fine form, after catching him solo a few months back, but the chemistry he has with his band mates really elevated this set to the next level. What a treat to hear not just the singles but album cuts as well. Watching the gratitude on Jack’s face as he led us in a singalong of “Hold Me in Your Arms” was a highlight amongst a really special set. Can I put in an early request for a tour? The Southern Sons story doesn’t feel done.

Vanessa Amorosi also took me back to my youth, opening up with an abridged version of “Absolutely Everybody” before bringing us all the attitude of “Have a Look.” She doesn’t look or move like she’s aged a day. I marvelled at the way she could jump down off the speakers, mix with the crowd, then jump back up to continue her set. I tried to get up on my kitchen bench to clean my aircon recently and failed miserably. But I digress. Needless to say, Vanessa puts us all to shame. She might look like she’s still in her teens and she certainly doesn’t mind bringing us the hits, but her set wasn’t just about that early nostalgia. As I watched her perform, I realised just how many smashing singles she’s had over the years. She introduced us to a handful of new tracks from her recently released album Back to Love as well, proving that her best music may be yet to come.

I’ve got to admit, by the time Jon Stevens was ready to grace the stage, I felt spent. The early morning and time on my feet caught up with me and I retired to my chair. I might have left the party early though, because Jon Stevens’ set was the highlight for many. Delivering Noiseworks and INXS hits was always going to go down a treat with this crowd, who were soon spilling out over the standing room zone. He’s such a rock star too, with all the moves to keep an audience in the palm of his hand. A surprise appearance from former bandmate Steve Balbi was the icing on the top of a tasty musical cake.

Every time I see James Reyne perform I remember just how much I love him. His songs are absolutely flawless. He’s a really cool dude that does his thing with such professionalism and heart, without any real fuss or fanfare. He always treats us to a greatest hits set, yet it never feels forced or formulaic. It’s easy to forget he’s sung these songs countless times because he puts so much of himself in them. And what songs they are too. “Reckless,” “Errol,” “Hammerhead,” “Beautiful People,” “Slave,” I could go on. Every one an absolute winner.

Speaking of greatest hits, John Farnham closed the show the only way he can. With those songs and that voice that are exactly what people come to see. The love for one of Australia’s most iconic singers is palpable, and he gives it right back to the audience. The hits come thick and fast, keeping the energy at 11. He doesn’t even seem to mind playing “Sadie” these days. Personally I’d love to see him shake up the sets because after a few shows in recent years I’m starting to anticipate what he’ll do when and how. Still, predictability isn’t the worst thing in the world when what you do gets so much love. Nothing beats that singalong to “You’re The Voice” either!

Shuffling back onto the ferries to start the long journey back to the coast I felt exhausted; I’d been on the go for more than 14 hours at that point and knew I was still around three from getting to my front door. However, I also felt buoyed by the local talents I’d witnessed that day. I might have been there for one of the earliest bands, but there were no weak links. You’re coming back next year One Electric Day, right?

Image source: own photos

Posted on by Lauren Katulka

Anthony Callea @ The Art House, Wyong – 11 October 2019

I still have moments where I feel like pinching myself when I see shows at the Art House. I’ve travelled to Sydney several times to catch Anthony Callea, so it was a real treat to have him make the journey to the Central Coast this time around.

The show lived up its Unplugged and Unfiltered. Perhaps it was a little too unfiltered for the ears of my 12-year-old niece, although if you’d ask her those racy anecdotes made the night more fun. The stories came thick and fast, as did the songs stripped back and laid bare. Anthony’s voice is always in fine form, but without a full band to hide any flaws it was even more impressive. If you don’t get goose bumps listening to him deliver “The Prayer” I’d check for a pulse. He may have outdiva-ed Whitney with his mash-up of “I Wanna Dance With Somebody” and “How Will I Know?” It was also a real thrill for the long-time fans to hear earlier material like “Rain” and “Addicted to You” in the set. I also loved seeing him so connected to his new single “What’s Wrong With Me?”

Anthony seemed to be having a ball on stage, appreciating the unfiltered format perhaps a little too much. The anecdotes may have dragged a little for punters there simply for the music, but I felt the laughs beautifully balanced the very emotional songs that made up the bulk of Anthony’s set. Perhaps the Art House should have posted a sign about sexual references and coarse language at the theatre doors, as they did for Hair though!

Even though those stories made my mum serving grandma duties blush, it all added up to such a fun night, a fitting introduction to the world of live music for my young niece. Even if she has learned a few things we didn’t expect!

Image source: own photo

Posted on by Lauren Katulka

David Campbell @ State Theatre, 4 October 2019

In the early 2010s, I’d see David Campbell several times a year. He’d regularly pack out RSLs on the back of his swinging cover albums, and I’d come back for more every tour. Then he got those pesky gigs on morning TV and radio and shows became few and far between. Looking back through my records, I hadn’t seen David perform since he was part of George Michael Praying for Time in 2017. My drought between solo shows stretched back to 2012. So, when he announced a limited number of shows supporting his Back in the Swing album, I snapped up tickets.

Things have certainly changed since the time I started seeing DC. He’s got little ones, and talk of them and his wife tends to dominate between-song banter. He’s so much busier. He sells out theatres now, and I can’t imagine him going back to an RSL any time soon. But in some ways, nothing has changed at all. I appreciate his steady gigs, but on stage is where he feels most at home. He’s mesmerising to watch, such a giving performer who always seems so in the moment.

This show really felt like a catch-up. If you hadn’t seen Dream Lover, or like me you just wanted to relive his starring turn in that musical, there was an extended section of Bobby Darin tunes. Ordinarily playing several songs from a new album is a risk, but when you’re returning to swing standards, arguably David’s most popular covers, it just makes sense. I loved hearing those new songs from his latest record: “Buona Sera,” “Make Love,” and “New York State of Mind” were highlights. Although I couldn’t help but feel a wee bit disappointed that Ian Moss didn’t surprise us and duet on my favourite song from the album, “In the Wee Small Hours of the Morning.” And you know DC can’t ever play a show without giving us a little Johnny O’Keefe.

But it was the songs that I didn’t expect to hear, that I was truly surprised by, that made the biggest impression on me. After seeing an artist so many times you assume everything but the new album tracks will feel familiar, but DC likes to throw in a few curveballs. I’d heard him play a few Louis Prima tracks in the past, but an extended passage of songs from my husband’s favourite swing artist had us in raptures. I was right there with David, wiping away a few tears when he sang Charles Aznavour’s “She” for his daughter Betty.

Watching David Campbell live again reminded me why I didn’t let a tour go by back in the day. I understand he’s a busy man these days, but I really hope he finds more time to get back on stage. It’s where he shines brightest.