Category: Reviews

Posted on by Lauren Katulka

“Grace” – Grace Farriss

You might not know the music of Grace Farriss yet, but her musical pedigree is sure to raise expectations. The daughter of INXS legend Andrew Farriss has stepped into the spotlight with the release of her debut album, Grace.

The album opens with the lead single “All the People,” a poppy delight with a little vintage flair. As the next floor filler “Dancing How I Feel” started up, I started to feel like I had a handle on who Grace Farriss is. With her pleasant voice and pop leanings, I started to imagine she could be the next Kylie Minogue.

The retro vibes kept coming with “Studio 54” and “Star,” but these tracks were turning points for me. I started to realise Grace is much more than simply a pop princess who’s listened to a few old records. “Studio 54” adds a little funk and psychedelia to her sound. “Star” is an unashamed homage to David Bowie which showcases Grace’s rock edge. There’s so much more depth here than I’d anticipated.

“I Love You” shows Grace’s softer side. With simple strings and piano accompanying her, this stripped-back ballad really showcases Grace’s voice and vulnerability. “Opieland” and “Women of the World” are natural follow-ups, dreamy numbers with folky sensibilities that make Grace seem far less mainstream than I first thought.

“Water Under A Bridge” may be my favourite song on the album. After so many delicate numbers, this rocking track seems even ballsier. I’d love to hear Grace playing in this bold, bluesy space more.

By the trippy closer “Interstellar Love,” I knew there was much more than Grace Farriss than I first thought. She’s capable of producing some very catchy pop music, but her understanding and passion for all genres makes her music much more interesting than the tunes from most radio darlings. Grace sees her experimenting with so many different sounds and proving she can confidently play with them all. I’m not sure whether she’s still finding her niche or she refuses to be pigeonholed. Either way, the music she’s making shows she’s a real talent in her own right.

Grace is out now.

Images used with permission from Grace Farriss

Posted on by Lauren Katulka

Ben Folds @ Bimbadgen Estate, Pokolbin – 8 May 2021

As I shiver through this unseasonably chilly May weather, it’s hard to believe I was basking in the sunshine at Bimbadgen Estate’s first (and hopefully not last) Cellar Door Series concert less than two weeks ago. There was so much to like about this event. The weather was glorious, warm without being sweltering as it is so often during the Day on the Green series. With a reduced COVID-safe capacity, we had plenty of space to spread out in our allocated squares. As an added bonus, the queues for lunch, booze, and the toilets were blissfully short. With just two acts on the bill, we were heading home by 6. How very civilised! And of course, those two acts were a big reason to love this show.

I’ve long admired Gordi’s gentle, folky music, so I was thrilled to see her in this setting. Her songs would have been too subtle for a big Day on the Green audience, but here among a smaller group of serious music fans they hit the right note. She held our attention with her hypnotically soothing voice and poetic lyrics. She chatted openly with the crowd, relishing the chance to get up in front of fans and support Ben, an artist she’s long admired. The surprise addition of Gordi’s long-time friend and sometimes collaborator Alex Lahey on a few songs they wrote together was a real thrill.

While I appreciated Gordi’s set, my excitement hit fever pitch for Ben Folds. After the COVID pandemic put the brakes on the local music scene, I’ve appreciated any chance to see live musicians doing their thing. But watching an international star play live is such a rare experience in the current climate. I relished it.

Ben seemed just as excited at the setup, marvelling at the parents swinging their kids around and the wild kangaroos who stopped to watch his set. And why wouldn’t you when such a talent is on stage? He chatted easily to us, sharing stories of his life. Hearing how he saw legendary fighters before they turned pro with his dad set the scene for “Boxing.” Hearing stories of the people in his life who inspired “Uncle Walter” and “Bastard” gave them extra power. His nostalgic mood might suggest he’s missing the US, but he assured us there’s no place he’d rather spend the pandemic than Sydney.

I’ve seen Ben perform countless times over the years, but this set was probably my favourite. The pandemic might have something to do with it. I think I appreciate concerts a little more now my calendar isn’t stacked with them. But there was more than that. He was in fine voice, so enthusiastic to be back in front of audiences, and that glee was infectious. In a traditional gig, the lights go out and the connections dim. The performers can’t see beyond the first few rows and you struggle to make out the people around you. Here I could see the faces of people who adored this gig as much as I did. Holding my husband’s hand as we both looked at each other during “The Luckiest” is a concert moment I’ll hold close to my heart forever. Everyone in attendance that day shared something and it was beautiful.

This was a set for fans, which we all were judging by the way we enthusiastically sang Regina Spektor’s parts in “You Don’t Know Me,” clapped along to “Annie Waits,” and danced around to “Effington” and “One Angry Dwarf and 200 Solemn Faces.” We were much more excited to hear him close with “My Philosophy” than “Brick” or “Rocking the Suburbs.” No one seemed to care that those radio staples weren’t included in the set, because what we heard was so good.

The team behind A Day on the Green set their bar tremendously high with their first Cellar Door Series show. I’m not sure they could possibly top it, but I’m keen to watch them try.


Image source: Stephen Katulka

Posted on by Lauren Katulka

“Reality Is” – Chris Tamwoy

The best albums are deeply personal. They don’t reflect current trends or follow a formula designed to move units. Instead, they provide an insight into the artist who created them. Chris Tamwoy’s debut album Reality Is sounds very different from the music that charts today, but its intimate nature provides a listening experience that’s so much richer.

The opening track “Damien and Sarah” gives us our first hint that this is something we haven’t heard before. It’s a gentle instrumental acoustic guitar piece, beautiful but not the kind of catchy opener we’re used to. It’s the first of several instrumental tracks on this album. These striking numbers give us space for reflection while showcasing Chris’ signature virtuosic guitar-tap style.

Other tracks give us insight into the driving forces in Chris’ life: his family and his culture. He delivers them in a mix of Eastern and Western Torres Strait Islander language, Creole, and English, celebrating all parts of his identity. I was struck by the single “Kulba Yaday,” featuring Christine Anu, on its release last year. There are so many more gems here, including “Yesu Kara Ople” and “Monkey & Tortol,” inspired by an indigenous children’s folk story. Even when you don’t understand the language, you can connect to the feelings behind them.

Other songs like “Dear Pop” and “Karissa (Don’t Cry)” pay tribute to the special people in Chris’ life. The English lyrics are straightforward and from the heart, ensuring we can all connect to these musical love letters.

“My whole album is based on the reality of life,” he explained in the press release. “It’s about me and who I am: it’s me as an individual covering every inch, every aspect of who I am as a Torres Strait Islander. I wanted to bring in my identity and the clans I originate from in the Torres Strait.”

For many people, Reality Is will be their introduction to Chris Tamwoy’s music. I can’t imagine creating a collection that more perfectly showcases who he is as an artist and a person. These songs are simple and honest, anchored by his guitar prowess, warm, welcoming voice, and gift for songwriting. Reality Is is available today via ABC Music.

Images used with permission from Revolutions per Minute

Posted on by Lauren Katulka

Chant du Vin @ Brokenwood Wines, Pokolbin – 1 May 2021

I’ve been thrilled there are more gigs on the concert calendar lately, but I’m also pretty selective about what I’m seeing. Rising hotel quarantine cases mean I can’t quite breathe easy, and the cooler weather makes hermitting so easy. However, I found myself venturing out on Saturday night, and I’m so glad I did. Chant du Vin is a new concert series, but hopefully it’ll be around for some time.

If like me you love the laidback vibes of winery shows but aren’t quite ready to sit among a massive crowd, Chant du Vin’s concerts are for you. Chant du Vin plays several shows in each wine region, choosing small wineries for their venues rather than the massive vineyards that host the Day on the Green events. There couldn’t have been more than 150 of us at Brokenwood Wines on Saturday night, one of four Hunter Valley shows for the event. Those of us with general admission tickets relaxed on our own picnic rugs and the chairs and beanbags organisers had thoughtfully left while the VIP ticket holders looked down from the event’s double-decker bus. A quality menu of food options and top-notch wines added to the atmosphere. Can I just say what a welcome change it is to be able to buy a bottle at any time during a winery show? Heaven!

It was like the organisers looked at my own personal wish list before booking acts for this all-acoustic night of entertainment. It’s been too long since I’ve seen Mahalia Barnes shining in the spotlight. She’s always stellar providing backing vocals for her dad, Jimmy Barnes, but I relished the opportunity to see her playing her own set. Hard Expectations was one of my favourite albums of 2018, so I was thrilled to see some of its tracks making the set. She peppered the originals with singalong classics including “I Am Woman” and “Heading in the Right Direction,” a beautiful way to pay tribute to some of the female pioneers of the Aussie music scene.

Mahalia reminisced about falling in love with Jack Jones’ music when she was just 8. I marvelled that I was only a couple of years older. Surely that makes the music of Southern Sons some of the first I fell in love with independent of my parents’ influence. The funny thing is, when he plays it doesn’t seem like more than 30 years have passed. Songs like “You Were There,” “Lead Me to Water,” and “Heart in Danger” still stand up. Jack’s voice hasn’t wearied at all over the years. When you play acoustic, there’s nowhere to hide, yet it rang out clear as a bell. He might have dismissed them as perfect toilet breaks songs, but for this fan hearing some new tracks was a real thrill.

If it was meant to be a mellow night of music, Sarah McLeod didn’t get the memo. She might have played an acoustic guitar, but her irresistible energy brought the night home strong. It was an eclectic and slightly unhinged set, featuring everything from Gershwin and Mahalia Jackson standards to solo songs and Superjesus tracks. After seeing Sarah supporting John Waite a few years ago, I had an inkling what to expect and knew just to hang on and enjoy the ride. And what a ride. She’s brilliant.

The Chant du Vin website suggested the show would finish around 9 but the artists were having none of it. They joined forces for some singalong tracks, making the show feel even more like we were just hanging with friends. I can’t remember how long it’s been since I was at an event and encouraged to sing, but gee it felt good to join in for songs like “Slipping Away” and “Proud Mary.”

As I walked back to the car at around 10, I marvelled that this show was the most relaxed I’ve felt in public since the pandemic began. We all had our own space, yet still felt like we were sharing something with the musicians and other concert-goers. I didn’t feel like reaching for my mask. I chatted happily with the people beside me. It all felt so normal and so wonderful. If you want to get in on some of that, check out Chant du Vin at one of the remaining shows. Limited tickets are still available.

6 May 2021 – Ross Hill Wines, Orange
7 May 2021 – Stockman’s Ridge Wines, Orange
8 May 2021 – Tamburlaine Wines, Borenore
9 May 2021 – JS Wines, Nashdale
13 May 2021 – Calabria Family Wines, Griffith
14 May 2021 – Lillypilly Wines, Leeton
15 May 2021 – De Bortoli Wines, Bilbul
16 May 2021 – Casella Family Wines, Yenda
20 & 21 May 2021 – Lake George Winery, Lake George
22 & 23 May 2021 – The Vintner’s Daughter, Murrumbateman

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Get Lost” – Mardi Wilson

Mardi Wilson came on my radar last April, with the release of “Runaway.” I’ve covered numerous singles since then, so I was thrilled to dive deep into her album, Get Lost. What I found was a collection of songs that were personal, yet so relatable from one of the country’s most promising singer-songwriters.

The songs capture moments in time, relationships that might have been fleeting, but they leave an impression nonetheless. We feel the dedication in the opening track “Give You My Time,” the poignant sadness in “Missing Me.” The upbeat groove of “Don’t Stop” helps balance the darkness of “Don’t Stop,” which so eloquently speaks of watching a loved one navigate addiction. In “Blinded By You,” Mardi captures the hazy, heady moments when attraction sparks. We see it develop into something more substantial in “Runaway,” which almost feels like a companion piece for the track that came before. “Nice Ones” is another of those happy-sad tracks, with biting lyrics paired with a rousing clap-along chorus. “Part Time Lover” is equally scathing. Mardi might sound like a sweet folk artist, but her words can wound when she wants them to.

While songs about relationships dominate this album, Mardi’s own voice shines through every track. So it’s only fitting that the final song and title track, “Get Lost” focuses on the self. It’s got a quiet strength, with Mardi’s gorgeous vocals joining acoustic guitar strums and percussion. What a powerful final statement this song provides.

Whether she’s singing about love, lust, or owning her own power, the thread of honesty runs through these songs. That starts with the lyrics, which are brave and raw, but there’s also an earthy, organic quality about these tracks that is so appealing. There doesn’t seem to be a lot of studio trickery here. Instead, you get the sense that the recordings capture jam sessions.

I’ve had Get Lost on repeat since it hit my inbox in mid-April and I think I fall a little more in love with each listen. Mardi’s voice has a warmth that draws you in, but stay with these songs a little longer and you’ll fall in love with the stories she tells and the characters in them. You’ll also find yourself humming those catchy melodies. Get Lost is available now.


Images used with permission from Footstomp Music

Posted on by Lauren Katulka

“The Neverending Glory” – Vaudeville Smash

I must admit, I haven’t known quite what to make of Melbourne’s Vaudeville Smash when their singles hit my inbox. I appreciated their funky grooves and catchy melodies, but their off-the-wall lyrics left me scratching my head. However, after spending time with their new album The Neverending Glory I’m firmly on board the Vaudeville Smash train.

Looking at the album cover tells you a lot about Vaudeville Smash. They’re certainly not a band that takes themselves too seriously. They’re also incredibly nostalgic. When you take their songs in isolation it might seem like they’re poking fun at their influences, but their tongue is always planted firmly in their collective cheek.

The band delights in playing with genre, taking us on a wild journey through their musical influences. The opening track “Clothes Off” is as bold as its title suggests, a delightful disco-pop number that subverts the typically gendered relationship roles. “Sweet Pyromania” is every bit as sexy, with more soulful undertones. It makes you think you know where this album is going, but then Vaudeville Smash hits you with the delightfully unhinged “Banana Man.” With a soul-rock sound reminiscent of Huey Lewis or Bob Seger, it’s as wacky as it sounds.

As the album unfolds, Vaudeville Smash delivers authentic yacht rock, dirty funk, and even Italo disco. “Cuccinated” and “Nonna” celebrate the culture of the nation’s European immigrants. “I Like Video Games” is pure nerd pop. I could wax lyrical about other standouts, but I want you to discover them for yourself.

What I can say is that The Neverending Glory is like nothing that you’ll hear this year. My advice is to hold on tight and enjoy the ride. Vaudeville Smash will play the following shows in the coming weeks:

17 April 2021 – Verrierdale Hall, Verrierdale
30 April 2021 – The Night Cat, Fitzroy
1 May 2021 – The Night Cat, Fitzroy

Images used with permission from Play MPE

Posted on by Lauren Katulka

Hamilton @ Lyric Theatre, Sydney – 10 April 2021

Like so many Australians I spent my 2020 birthday in total lockdown. The cruise I’d booked was cancelled. My best friend who insisted she’d be happy to sit in my place and drink wine couldn’t cross the border. For the first time ever there was no special meal out, just me and my husband. It was sucky, like so much of 2020, but one of the things that made the year brighter was the release of Hamilton on Disney+. As I watched and rewatched, unpacking and analysing it as I hadn’t done with a piece of work since high school English, it became my favourite musical. So when I heard it would make its Australian debut around my 2021 birthday, I knew how I wanted to celebrate my latest turn around the sun.

I wondered though, could the Australian production of Hamilton possibly meet my lofty expectations? I’d fallen in love with the Broadway cast, many of whom took home Tonys for their performances. Matching them was always going to be a tall order, but we should be proud of our talent here at home. Many of the Hamilton principals aren’t well-known … yet. But I believe this cast has many stars of the future. Lin-Manuel Miranda created Hamilton, so while his singing voice was never the strongest I couldn’t imagine anyone else understanding the role of Alexander in quite the same way. But Jason Arrow stepped into those massive shoes as if they were tailormade for him. Chloe Zuel was the perfect Eliza and Lyndon Watts a nuanced Aaron Burr. Matu Ngaropo brought the right amount of gravitas to George Washington and while I love Daveed Diggs, I think Victory Ndukwe did an even better job of separating the personalities of Lafayette and Thomas Jefferson.

If like me you were wondering whether the local cast could possibly keep pace with the rapid-fire rhymes, don’t stress. They’ve got this. Add in those incredible songs, beautiful costumes and staging, and you’ve got all the ingredients for a memorable time at the theatre.

If you’ve seen the Disney+ pro shot, you may wonder whether you need to see Hamilton in person. There’s an electricity about being in “the room where it happens” though. While I fell in love with Hamilton on my couch, I wouldn’t have given up the experience of witnessing it in person for the world. While I appreciate the way that the cameras guided my gaze at home, being able to take in the whole stage at any time and catch the movements that might have been off-frame made me fall in love with this musical even more. Nothing could replace the feeling of sitting with a crowd of theatregoers (100% capacity now, if you please), then standing with them to deliver the standing ovation this production so richly deserved.

As I glanced down my row, I was pleased to see my whole family joining me in that standing O. Even my father who was dreading the performance because he hates “rap crap.” There may be no higher praise than that. Hamilton is at Sydney’s Lyric Theatre until November 14. Tickets are on sale now from Ticketmaster.

Posted on by Lauren Katulka

“Habits of Honesty” – Talitha

Great music has no age limit. Simply looking at the promo pictures of Gold Coast artist Talitha, with her glittery eye makeup and rainbow-coloured hair, told me she wasn’t making music targeted at women in their 40s. And yet I can’t stop listening to her latest EP Habits of Honesty.

Right now my life is in a very different point to Talitha’s. It’s been a long time since I’ve wanted to lash out at former fling as she does in the opening track “Embarrassed to know ya.” Yet the brutal sassiness is so much fun that this number hooked me instantly. While this song reveals Talitha’s darker side the rest of the EP is frothy and fun. “The good ones” is such a beautiful ode to those thick-and-thin friendships. The belief in bonds that stand the test of time continues in “I choose you.” While this sweet love song celebrates the no, it also looks to the future, a time when Talitha and her love won’t be “trainwrecks.” “New Year’s” is the ideal way to end this joyous EP. It paints such a vivid scene of the best kind of party, surrounded by great company, with drinks in hand and a crowded dancefloor. My memories of those kinds of nights are fast fading, but this song brings it all back in glorious technicolour.

I can imagine Habits of Honesty striking a real chord with teens and twentysomethings. This album is clearly written for them, and they’ll lap up those synthy sounds, cool beats, and relatable lyrics. It might not resonate in the same way for the older crowd, but it’s still ridiculously catchy pop music. And you’re never too old for that. Habits of Honesty is the first release in a three-part album written, performed, and co-produced by Talitha. I love how this journey’s started and can’t wait to hear what comes next.

Images used with permission from the A&R Department

Posted on by Lauren Katulka

Tim Freedman @ Laycock Street Theatre, Gosford – 12 March 2021

The Whitlams were one of my concert casualties of last year. While that gig has been postponed to August, Tim Freedman is putting himself in front of smaller crowds with his Hot Autumn Nights shows.

Byron Bay-based singer-songwriter Sam Buckingham warmed up the crowd. Holding the attention of a sold-out theatre there to see someone else with only an acoustic guitar and your voice is no mean feat, but you could have heard a pin drop during her performance. I remember seeing her play at a little bar in inner-city Sydney what has to be at least 15 years ago, and it’s thrilling to see how far she’s come. She’d delight us with a witty, light-hearted number, then go for the emotional jugular with something weightier. She chatted easily with the crowd, clearly delighted to be out in the world amongst music lovers again. Her set was a big reminder that I need to catch up on the music I’ve missed because she’s such a talent.

While we were appreciative of Sam, there was a buzz of excitement when Tim took the stage. We were thrilled to see him and it seems the feeling was mutual. I’ve seen him play live so many times over the years, both with the Whitlams and on his own, but I can’t recall him being in such a chatty, upbeat mood. He stopped to pause and talk between most songs, regaling us of tales of their origins. Not even the steady stream of people exiting and entering the venue for the bars and toilets seemed to faze him, as he joked that while he’d lose them for a while they always seemed to come back.

In some ways, a Tim Freedman show isn’t too dissimilar from a Whitlams show. The hits and fan favourites from the band’s back catalogue still make up the bulk of the set. Nothing was neglected, from the songs that climbed the charts like “No Aphrodisiac” and “Blow Up the Pokies” to earlier singles like “Gough” and “I Make Hamburgers,” released before the band really gained mainstream attention. A selection of choice covers peppered the set. I saw Tim paying homage to Harry Nilsson years ago, so I was thrilled to hear him deliver the poignant “Mr Richland’s Favorite Song.” He nearly forgot to deliver the Randy Newman cover the show’s ads promised, but “Short People” was a fun addition to the encore. Nilsson and Newman covers were natural choices for a piano-playing singer-songwriter, but his take on Joni Mitchell’s “Both Sides Now” was more unexpected. I’m so glad I could witness it.

I don’t have photos from the night to share; Laycock Street Theatre forbids photography. I don’t mind that rule too much though. It forces you to stop looking for that perfect shot and simply appreciate what’s happening in front of you. After the year we’ve all had, so starved of live music, sharing in those moments with Tim, Sam, and the appreciative Central Coast audience was so welcome. Tim will take his Hot Autumn Nights tour to the following venues in the coming weeks:

18 March 2021 – Theatre Royal, Castlemaine
19 March 2021 – Burrinja Cultural Centre, Upwey
20 March 2021 – Corner Hotel, Melbourne
21 March 2021 – Corner Hotel, Melbourne
24 March 2021 – Lizotte’s, Newcastle
25 March 2021 – Soundlounge, Gold Coast
26 March 2021 – The Triffid, Brisbane
27 March 2021 – The Triffid, Brisbane
30 March 2021 – Rockford Winery, Tanunda
31 March 2021 – The Gov, Adelaide
1 April 2021 – The Gov, Adelaide

Posted on by Lauren Katulka

“into the great unknown” – Pierce Brothers

I’ve followed the career of Pierce Brothers since Jack and Patrick Pierce hit the scene in 2014. The brothers take a slow and steady approach to creating music; it took four years for them to release their debut album Atlas Shoulders, and they’ve only just released the follow-up, into the great unknown. That thoughtful, considered approach is an anomaly in an industry where it seems everyone is looking out for the next big thing. But as a music fan, I appreciate the time the duo takes. It ensures when those albums do drop, they’re special from start to finish.

You won’t find any filler tracks here. So many albums seem to exist simply as a way to bundle singles together, but that’s not the case here. The singles “dentist,” “brother,” and “kanko” sound fabulous of course, but there’s much more to dive into. Releasing several tracks prior to the album’s release ensures this music feels familiar from the first listen, but I didn’t find myself waiting for those songs. I was having too much fun discovering the rest of these tunes.

Pierce Brothers recorded this album in regional Victoria, between the state’s two lockdown periods. Travel was clearly on their mind; songs such as “white caps,” “la montagne,” and “lights of London take us on a journey. We might not visit Europe or the UK or marvel at snow-capped mountains in a foreign land any time soon, but through this music we can experience some of the romance and sense of adventure international travel provides. Most of the material is joyous, the kind of fun folky stuff that inspires you to clap along and stomp your feet. But the brothers show us a darker underbelly through tracks including the instrumental “reflecteur,” “trouble,” and the cutting “trouble.”

into the great unknown is a natural evolution for Pierce Brothers. It showcases a bigger sound, with female backing vocalists and string arrangements complementing their sublime sibling harmonies and acoustic guitar melodies. However, the duo hasn’t strayed too far from what drew me to their music back in 2014. This album is entirely self-funded and released 100% independently, ensuring the duo’s collective voice remains strong. into the great unknown took some time, but it proves the old adage that good things come to those who wait.

into the great unknown is out now. Catch Pierce Brothers at their upcoming shows:

20 March 2021 – The Old Coal Mine “The Shed,” Wonthaggi (SOLD OUT)
21 March 2021 – Halls Gap Hotel, Halls Gap
27 March 2021 – Chapel Off Chapel, Prahran
1-4 April 2021 – Bluesfest, Byron Bay
9 April 2021 – Volta Arts & Culture, Ballarat
10 April 2021 – Pier Bandroom, Frankston
17 April 2021 – Birregurra Mechanics Hall, Birregurra
22 April 2021 – Barwon Club, South Geelong
23 April 2021 – Hotel Esplanade, St Kilda
30 April 2021 – Corner Hotel, Richmond
2 May 2021 – Live @ Lamberts, Seabreeze Hotel, Mackay
7 May 2021 – Sooki Lounge, Belgrave
21 May 2021 – Sandy Point Music Club, Sandy Point
22 May 2021 – Westernport Hotel, San Remo

Images used with permission from On the Map PR