Category: Reviews

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

“Hote’ Hote'” – Charles Maimarosia

Proving that music really is the universal language, Charles Maimarosia has captured my heart with his sophomore album Hote’ Hote’. Born in the Solomon Islands and now based in Naarm/Melbourne, Charles celebrates his Are’ Are’ roots with this special collection of songs.

From the bold native drums of album opener “Parani O’o,” this album makes one thing clear: this isn’t like anything else you’ll hear 2025. That might be a bold statement to make in February, but I can make it confidently knowing that it’s such a rare gem.

As a word nerd, I tend to listen to albums listening for lyrics I can connect with. I couldn’t do that here, as Hote’ Hote’ is recorded entirely Are’ Are’. That approach forced me to listen to the music in a different way than I’m used to. Are’ Are’ is such a beautiful Melanesian language, it becomes almost like another instrument on these recordings. They combine with guitars and traditional Melanesian panpipes to tell stories that you might not understand, but you certainly feel. The stirring “Nanaratana Hu’ A Kurmauri” uplifted me. Laidback “Na A’ Ma Si’ O” transported me to the beaches of Charles’ original island home. “Roropau,” a traditional Are’ Are’ lullaby, soothed me. Individually these songs are beautiful, but listen to the way they weave together and you get a sense of the culture that Charles honours so beautifully.

“The album explores themes of voyaging, family, love, and cultural preservation,” he explained. “It celebrates the beauty of the Pacific, the strength of community, and the stories of my ancestors. It’s also a call for unity and respect across all cultures and generations. And also my own journey from small Pi Pi Su village in Malatia Solomon Islands to Australia and touring the world following and sharing My culture and music from the age of 17.”

Hote’ Hote’ probably isn’t like anything you’ve heard before, but that’s a good thing. Open your ears and heart and let yourself be transported away by this release. Hote’ Hote’ is out now. Charles will bring this music to the masses at the following shows:

21 February 2025 – Wauchope Arts Hall, Birrpai Country/Wauchope
22 February 2025 – Red Rattler, Bulanaming/Marrickville
23 February 2025 – Smith’s Alternative, Ngambri/Canberra
3 May 2025 – Theatre Royal, Dja Dja Wurrung Country/Castlemaine (supporting Ruth Moody)

Images used with permission from On the Map PR

Posted on by Lauren Katulka

“Lessons in Love” – Thndo

It’s no coincidence that Thndo’s released her new album Lessons in Love this Valentine’s Day. While the day might be a Hallmark holiday, it’s also the perfect time to discover this diverse collection of “love songs.”

I put the term in quotes because most songs aren’t love songs in the traditional sense. While they all touch on relationships, they’re not formulaic or overly saccharine. Thndo bares her heart here, exploring the emotions that come when you open yourself up to someone. There’s excitement over infatuation, but also trepidation over being vulnerable. Love comes in all forms, so it’s only fitting that Thndo touches on motherhood with songs like “Another Day” and the incredible closer, “Purpose.” The struggles in relationships are celebrated as part of the story rather than sugar-coated. While Thndo’s not afraid to show the scars, this is ultimately an uplifting collection of songs that offers hope that love can conquer all.

These are songs of real substance, so I wanted to celebrate that first before I mention Thndo’s voice. It’s important to stress that her talent goes much deeper than her vocal chops. But of course, I also have to mention Thndo’s voice. It’s simply one of the best in the country. It can truly do anything, from the upbeat grooves of “Along the Way” and “Bedroom Eyes” to the cinematic ballad “Holding On.” But I love it best in pared back numbers like “Another Day” and “Given Time.” When you strip the music back, there’s nowhere to hide. If there were any imperfections, we’d hear them. There are none. Thndo’s rich, soulful voice is simply incredible.

I liked Lessons in Love from the first spin, but after a few listens I feel deeply in love with it. Press play and let it find its way into your heart this Valentine’s Day. You can see Thndo performing selected songs from Lessons in Love at the following venues:

14 February 2025 – A Valentine’s Affair @ Jazz Lab, Bulleke-bek/Brunswick
22 February 2025 – Under the Stars @ Packer Park, Bunurong and Wurundjeri Country/Carnegie (FREE)
16 April 2025 – Northcote Theatre, Naarm/Melbourne (supporting BJ the Chicago Kid)
27 June 2025 – Karralyka Theatre, Wurundjeri Country/Ringwood

Main photo credit: She is Aphrodite

Posted on by Lauren Katulka

“Stay With the Horses” – Alexander Biggs

Fiercely independent, Alexander Biggs is an artist who plays by his own rules. His music doesn’t sound like anything on the radio. He takes his time releasing it, waiting five years after hitting my radar before unleashing his debut album Hit or Miss and another four years before following it up. But today, we get the opportunity to hear his sophomore effort Stay With the Horses.

Of course, when you’re self-recording, self-producing, and independently releasing your music as Alexander does, you have time. To experience life and find inspiration, to experiment with lyrics and sounds, to get it just right. I hear the benefit of time in these songs. They embody the elements that drew me to Alexander’s music years ago. The hushed vocals have such a quiet power, drawing in the listener and creating intimacy. The lyrics are beautiful, poetic, and authentic. The melodies are simple, allowing us to hear the words that Alexander almost whispers.

But don’t think Alexander’s simply delivered more of the same here. This is everything I love about his music, but better. The melodies seem more approachable and a little catchier. You’re still not going to belt out these songs at karaoke, but you might find yourself humming them unexpectedly. His songwriting has evolved too. I found myself marvelling at his way with words, admiring phrases that hit my ears and heart. Alexander has elevated his music without alienating his fans here. That can be a delicate balance, but he achieves it with these songs.

Stay With the Horses is a really special album. It’s music that matters from an artist that isn’t afraid to buck trends or reveal their heart. Listen to it on your favourite streaming services now or purchase a limited edition vinyl copy here.

Images used with permission from Maths and Magic

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

“Some Good Songs … Done Badly” – Brave Mistakes

I love a good cover version. Covers have become a bit of a dirty word over the years, something reserved for karaoke nights or reality singing shows on commercial networks. But interpreting a beloved song and making it your own takes a real skill. So while the title gave me some trepidation, I was excited to discover Brave Mistakes new EP, Some Good Songs … Done Badly.

Brave Mistakes are a DIY band from Tarntanya/Adelaide. That city has always been a rich breeding ground for talent, giving birth to acts like Cold Chisel, The Angels, and Masters Apprentices. There’s an energy about these bands that I hear echoed in Brave Mistakes. The songs on this EP are pretty raw and unfiltered, but what’s more rock and roll than that?

This EP definitely has some good songs, as its title suggests, and while the delivery’s probably not what you’re used to it’s far from bad. Actually it’s pretty amazing. Brave Mistakes have made some really clever song selections here. Frontman Garrett R. Cooper has a rich, resonant voice that lends itself perfectly to these diverse numbers. Darker material like Chris Isaak’s haunting “Wicked Game” and Iggy Pop’s tortured “Candy” are natural fits. But Brave Mistakes brings out the yearning in Elvis Presley’s “Heartbreak Hotel.” This is no slick, matinee idol performance; it’s much more interesting. Their version of “Who Do You Love?” reminds me a lot more of The Doors’ sexy take than Bo Diddley’s rockabilly original. Brave Mistakes take their biggest left-turn with the closer, “Be My Baby.” I’ve never heard a male-fronted band deliver this Ronettes’ hit, let alone one that’s so unpolished. But there’s a retro charm about Brave Mistakes that makes this work too.

Leave your preconceptions at the door. Brave Mistakes don’t sound like so many other rock outfits that record their music in high-end studios with acclaimed producers. They’re doing it their way, and that’s a big part of their appeal. Some Good Songs … Done Badly is out now. Brave Mistakes will play the following festivals in the coming weeks:

8 February 2025 – High Fever Festival @ Three Brothers Arms Hotel, Kangowirranilla/Macclesfield
1 March 2025 – Pirate Life Brewing 10th Birthday @ Pirate Life Brewing, Yartapuulti/Port Adelaide (SOLD OUT)

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

“Forgiving Spree” – Slowly Slowly

With Forgiving Spree, Slowly Slowly proves the old adage that quality is always better than quantity. Its nine tracks spanning will take you just a little over half an hour to listen to, but I guarantee you’ll be thinking about them long after the final note.

It’s no coincidence that Slowly Slowly released five singles from this album before its launch. It opens with the title track before moving on to “Gimme the Wrench” and “How Are You Mine?”, all so catchy and crowd-pleasing. You might expect a dip in energy as Slowly Slowly move on to those album tracks, but in all honesty, any song on this album might have served as a single. This is an album that sees Slowly Slowly leaning into their pop sensibilities, unafraid to take inspiration from more commercial influences like John Farnham and Bruce Springsteen. There are more love songs than gritty anthems here. Most songs encourage listeners to sing along, but with the closer “Born Free,” Slowly Slowly shows they have what it takes to silence you. It’s such an epic ballad, stripped back and vulnerable until its dramatic musical and emotional crescendo.

Forgiving Spree is Slowly Slowly’s fifth album and their most accomplished. It sees them taking well-educated musical risks that always land, yet still surprise listeners. They’re stretching themselves musically and proving that just maybe, they can do it all.

Forgiving Spree is out now. Slowly Slowly will celebrate their new release with shows in Europe, the United Kingdom, and here at home over the coming months. Get your tickets now because they’re bound to sell out.

6-9 February 2025 – Party in The Paddock Festival @ Quercus Park, Kanamaluka/Launceston
28 February – 2 March 2025 – Feastival Falls Creek, Jaithmathang Country/Falls Creek
1-2 March 2025 – Yours and Owls Festival, Woolyungah/Wollongong
9 March 2025 – Limestone Coast Beer & BBQ Fest, Berrin/Mount Gambier
14 March 2025 – Academy 2, Dublin
16 March 2025 – Cat House, Glasgow
18 March 2025 – Key Club, Leeds
19 March 2025 – Deaf Institute, Manchester
20 March 2025 – Hare & Hounds, Birmingham
22 March 2025 – Camden Assembly, London
24 March 2025 – AB Club, Brussels
26 March 2025 – Supersonic, Paris (FREE)
27 March 2025 – Rotown, Rotterdam
29 March 2025 – Artheatre, Cologne
30 March 2025 – Badehaus, Berlin
4 April 2025 – Astor Theatre, Boorloo/Perth
5 April 2025 – Hindley Street Music Hall, Tarntanya/Adelaide
6 April 2025 – King Street Bandroom, Mulubinba/Newcastle
10 April 2025 – Fortitude Music Hall, Meeanjin/Brisbane
11 April 2025 – Enmore Theatre, Eora/Sydney
12 April 2025 – Margaret Court Arena, Naarm/Melbourne

Main photo credit: Marcus Coblyn

Posted on by Lauren Katulka

“TOY” – Dear Seattle

Dear Seattle aren’t playing around with their latest album TOY. The band’s third studio album is packed with stellar rock tunes that will have you singing along in no time.

The album takes off with “Nothing’s Stopping Me Now,” an upbeat, feel-good banger that perfectly sets the tone for this release. Dear Seattle have a knack for creating big, anthemic earworms. Frontman Brae Fisher’s vocals have this raw, authentically Australian quality that encourages listeners to join in. The hooky guitar riffs are infectious. High-energy numbers are the band’s specialty and tracks like “Courtney Love” and “Sungazer” are some of the band’s best. The band doesn’t keep its foot flat to the floor though. Dear Seattle ensures this rock album never feels one note when it slows down the tempo for more introspective numbers like “Evergreen” and “Counting Hours.”

While Dear Seattle’s Like a Version cover of “The Special Two” is a lot of fun, it doesn’t quite gel with all this incredible original music. It’s a shame this bonus track couldn’t be delivered like the bonus tracks on old CDs, after an extended silence that let us digest this excellent album first.

The release of TOY feels like Dear Seattle have come full circle. This album saw them reunite with Fletcher Matthews, who produced their debut EP in 2017. This time they’re coming together with years of stage and studio experience under their belt. Dear Seattle have matured without losing that raw Aussie charm that first endeared them to punters. This fresh batch of songs are instantly accessible, but I feel I’m going to love them even more once I memorise all those lyrics and can sing along at top note.

TOY is available now on vinyl, CD, and streaming platforms.

Main photo credit: Charlie Hardy