Category: Reviews

Posted on by Lauren Katulka

Chess @ Civic Theatre, Newcastle – 27 February 2021

Last weekend marked one year since my pre-pandemic concerts. I stayed over in Sydney and caught Conchita Wurst and Jonathan Van Ness’s shows without a care in the world. Coronavirus must have been bubbling overseas, but we were oblivious to it as we filed into packed inner-city venues. Last weekend marked the first time I really felt like the world was returning to that level of normal, for most people anyway. If not for the QR codes checking in to the Civic Theatre and an announcement that masks were recommended, we might have forgotten the pandemic existed. Outside my party, I didn’t spot anyone heeding the Civic’s suggestions, even while crowding into the theatre. While the Art House left vacant rows down the front when I saw Rent, it seemed like a full house. Certainly, people weren’t afraid to whoop and cheer loudly when the curtain went up for this production of Chess.

I went into Chess blindly, tagging along with my eager parents simply because I didn’t want to be left out. However, I was quickly swept up in this story of international chess rivals and the woman they both loved. Silvie Paladino was a revelation for me. I knew she had vocal chops through her annual performances at carols, but I wasn’t prepared for her charisma and command of the role. I didn’t know much about David Harris, who local talent who splits his time between Sydney and New York, but he can see why he’s in demand on Broadway. What a voice. Australian Idol alum Marty Worrall definitely held his own playing opposite the people with their faces on the poster. He’s so captivating and cool, the perfect Freddie Trumper.

This was the biggest production I’ve seen since the pandemic hit. While Rent’s major characters are supported by a relatively small ensemble, Chess’s cast was backed by a massive choir. An orchestra on stage was inspired. I’ve never seen that before, but I’d love to see more of it. What the band does is so crucial to a musical, the players deserve better than being hidden away. But it did make for a lot of bodies on stage, another hint that Australia is feeling more relaxed.

This production was originally scheduled for late March 2020, so it was a long time coming. I won’t say Chess was my favourite musical, but for a couple of hours, it let me forget what the world had gone through in the last 12 months. International travel is off the table until who knows when, but this production transported me to Italy, to the Soviet Union … we even got a night in Bangkok. It was colourful, romantic, and above all entertaining.

Posted on by Lauren Katulka

“Here, Now” – Jessie Monk

When I heard Jessie Monk’s single “Lonesome Winter Blues” last month, I couldn’t wait to hear more of her material. Now that her EP Here, Now is out in the world, I can finally get my fix. My expectations were high, but this beautiful five-track release has certainly satisfied them.

We open with “Maybe in Another Life,” a song that really showcases how well Jessie can tell a story through song. You can feel the longing as you listen to this beautiful song about two people who never act on their attraction because he’s attached. “Dark Café” paints another vivid picture, this time of the life of a waitress with big dreams. It’s a cliché on paper — we’ve all heard the tale before — but the specific details Jessie includes makes this familiar story feel brand new. Listening to “Lonesome Winter Blues” again, I’m reminded just how much it impressed me the first time around. It really is such a beautiful song, the perfect showcase of just what Jessie is all about.

The EP moves into a quieter, more reflective space with “Turns Out I’m Someone Else.” It’s one of the most subtle tracks on the EP, but tap into the lyrics and you’ll really appreciate its beauty. The title track “Here, Now” is another gentle number. Jessie’s vocals are flawless throughout this EP, but I was particularly struck by her performance on this song. It’s so beautiful, like a siren’s song drawing listeners in and encouraging them to really pay attention to every word of this EP closer. The words, which emphasise the importance of living in the moment, really resonate in these uncertain times.

I made the comparison before, but I couldn’t help thinking about how Jessie Monk might be Australia’s answer to Joni Mitchell. Just like Joni, her voice seems effortless, moving from lush lows to her higher register with seeming ease. No matter where she takes it, it’s always pure and beautiful. Like Joni too, Jessie is such a gifted songwriter. Her lyrics are like poetry, with such perfect details that bring her characters to life for us. If Jessie Monk isn’t already on your radar, make Here, Now the release that changes all that.

Images used with permission from the A&R Department

Posted on by Lauren Katulka

“Rent” @ The Art House, Wyong – 7 February 2021

Living through a pandemic, I’ve learned that we can’t take things for granted. I recently read an article about Hamilton coming to Australia, with members of the original creative team sharing their joy that somewhere across the ocean people would get to the theatre and see their show. Not long afterwards I found myself at The Art House seeing one of my favourite musicals, Rent, fresh from its stint at the Sydney Opera House. Things were different, with QR code check-ins and masks (not compulsory, but smart and necessary for keeping my anxiety at bay). And there was no way we were allowed to moo (if you know, you know). But at the end of the day, I got to see artists bringing an iconic piece of musical theatre to life in front of my eyes, something that in much of the world still seems so far away.

This was the fourth different production of Rent I’ve witnessed and perhaps the most dramatically different. Art is a living breathing thing, it should keep evolving. While not all of the variations paid off, I appreciated that the Rent I saw in 2021 was very different from the one I witnessed in 1998. An elevated platform on the stage brought us the main action while supplementary action appeared just off to the side. Just like in real life, watching something occurring just off to the side added context: Maureen dancing intimately with male and female partners while Mark and Joanne delivered Tango Maureen” was especially effective. Using the pronoun “they” for Angel also made sense in the current climate; while Angel’s gender identity was never explicitly explained I think original creator Jonathan Larson would have been on board with its wokeness. Unfortunately, the pronoun wasn’t used consistently though, so it didn’t have quite the impact it might have. Most people wouldn’t have noticed a little lyric change in “We’ll See” but, for my husband and me, it seemed jarring and unnecessary. I really appreciated the extended jam and dancing before “Seasons of Love,” which made Act Two’s opening number seem more organic. While the song’s lyrics always resonate, its staging is all too often a little stilted.

The characters from Rent seem like old friends to me, so it’s interesting watching others slip into the roles. While the community theatre production I saw a couple of years ago had some standout performers, this production’s cast was consistently outstanding. I’ve never seen a more effective Angel than Seann Miley Moore. His performance blew me away. Tim Omaji was also so impressive as Benny. I really appreciated this production expanded the role a little and let Tim show off his dancing chops. Monique Salle was delightfully unhinged and endearing as Maureen. But there were a few missteps for me too. While Mat Verevis was commanding as Mark, he seemed too confident and cool for this character. He’s supposed to be an anxious nerd, not the handsome guy with flowing locks. The chemistry between Seann Miley Moore and Callum Francis was perhaps the most compelling I’ve seen between an Angel and Collins. However, Collins has always been a tenor. The songs didn’t quite sit right in a higher register, and I missed the contrast between their tones.

Despite some missteps, Rent is a little like pizza; it’s always good. And right now, at a time when so much of the world feels fractured, it was the perfect show. As the lyrics of “What You Own” say, this play is really about “Connection in an isolated age.” As this pandemic continues to play out, feeling that connection with artists and an audience felt pretty special.

Image source: own photo

Posted on by Lauren Katulka

“Hit or Miss” – Alexander Biggs

Looking back through my blog, I’ve admired Alexander Biggs’ music since 2016. As an independent artist, writing, self-recording, and producing his own music, there’s never a lot of fanfare about his releases. They’re quiet songs that cast a spell, providing a few moments of calm in the chaos of the real world. They always leave me wanting a little something more, so I’m thrilled that finally, Alexander has released his first album, Hit or Miss.

If you’re already familiar with Alexander’s music, you know what to expect, and I doubt you’ll be disappointed. If this is your first introduction, it might take you a little time to embrace his songs. They’re much more subtle than music that earns radio airplay or goes viral on social media. But give it time, and I swear it’ll get underneath your skin. You’ll learn to appreciate the gentle strains of acoustic guitar or piano, Alexander’s hushed tones, and the poetic vignettes his words create. The songs feel like diary entries capturing moments in time that fade away all too quickly. There’s romance without schmaltz, bittersweet pain, and emotions kept on the surface. I was familiar with many of these songs, but they’re so much more potent here, with the other tracks providing context and clarity.

I started listening to Hit or Miss this morning. Every time the final notes of the title track faded away, I found myself pressing play again. It’s one of those albums that gets richer and more endearing with every listen. It’s special. You’ll find it on your favourite streaming platforms, but if like me you prefer tangible music, grab a copy of the limited-edition vinyl while you can.

Image used with permission from Maths & Magic

Posted on by Lauren Katulka

“The Space Between” – Illy

I’ve spent most of this week crushing on The Space Between, Illy’s long-awaited sixth album. I’ve always loved the way he creates music which is so thoughtful and positive. This album’s his most introspective yet, with tracks offering a fascinating insight into his thoughts and experiences.

“The Space Between is about change. How much there is from one point to the next, and how those trips – not the destinations – define us,” he explained. “My music has always been about real life, and since last time we spoke, mine happened between albums, relationships, parties, therapy, triumphs, breakdowns, celebrations, mourning … all of it.

“I learnt a lot. About me and people around me. Who’s there for a good time, who’s there for a long time, and who was never really there at all. I learnt to keep it moving, but also to stop and appreciate where you’re at, because the one constant is change. I’m thankful for all of it. It all made this album.”

While this album isn’t as consistently upbeat as many of Illy’s other recordings, I think it’s the album we need right now when the world is so challenging. And while there’s some darker material, there are still definitely those moments to party! While I love what Illy creates solo, the collaborations on this album are really off the chain. While I have a soft spot for “Loose Ends” with G-Flip and “Lean on me” with Robinson, I think my favourite is the current single “Mirror,” featuring American singer-songwriter Wrabel. It’s so raw and powerful, a true indication of the diverse music Illy treats us to on this album.

Check out this song, but don’t stop there. The Space Between is out now.

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

“If I Leave You In the Fire” – Saint Lane

New Zealand-born, Gold Coast-based rapper Saint Lane shines brightly on his debut EP, If I Leave You In the Fire. This is an explosive debut, a collection of songs that proudly push genre boundaries and leave a strong impression on the listener.

If I Leave You In the Fire was written in the aftermath of the unexpected death of Saint Lane’s father. He describes this collection of songs as “a story of loss, grief and moving forward.”

“In 2019, my father died completely unexpectedly from acute pancreatitis with no previous health issues. I had less than an hour to make a decision for my dad to have a surgery to save his life, however he died during the surgery and I immediately felt a feeling beyond guilt,” he explained. “I felt solely responsible for the death of my dad and watching my family mourn. I believed I was to blame for our loss. The EP covers the stories and emotions of the most difficult time of my life.”

Grief is a personal and often private experience, but Saint Lane invites listeners in, encouraging them to process their own setbacks and pain along with him. The EP opener “The Fire” is a solid introduction, but the music hit the next level for me once the gospel choir kicked in, introducing the companion piece, “The Water.” This track is the EP standout for me, an uplifting work that explores the idea of rising up and moving forward with optimism.

I’ve raved about Queensland singer-songwriter Robbie Miller before, so I was thrilled to hear him collaborating on “When Did We Grow Up?” It’s got such a cool summery feel, which gives way to something darker as the tune fades out. The tonal shift seems a little jarring, but it reminds us that grief comes unexpectedly in waves. It also helps us easily move into the poignantly haunting fourth track, “The Family.” “Altar of the Heartless” is another sombre number, touching on addiction and depression. The weight is lifted with “Hickeys,” the optimistic closer which suggests better days ahead.

I love the way Saint Lane combines his rap with other influences. Adding the gospel choir, jazzy piano licks and horns, the breezy, folky strum of an acoustic guitar brings a new flavour to his sound. They make his rhymes so approachable from the first listen. I also appreciate his willingness to take risks. If I Leave You In the Fire is a ballsy debut, but that’s exactly what makes it so good.

Saint Lane is about to tour the country with Bootleg Rascal. Check him out at the following shows:

16 January 2021 – Woolly Mammoth, Brisbane
27 January 2021 – La La La’s, Wollongong
28 January 2021 – Kambri @ ANU, Canberra
29 January 2021 – Oxford Art Factory, Sydney
30 January 2021 – Rhythm Hut, Gosford
4 February 2021 – Pelly Bar, Frankston
5 February 2021 – Howler, Melbourne
6 February 2021 – Barwon Club, Geelong
7 February 2021 – Sooki Lounge, Belgrave
13 February 2021 – The Northern, Byron Bay
5 March 2021 – Miami Marketta, Gold Coast

Image used with permission from TMRW Music Group

Posted on by Lauren Katulka

“A Kingswood Christmas” – Kingswood

When I heard Aussie rock act Kingswood released a Christmas album, I wasn’t sure what to expect. The tracklist was traditional, but I was sure there had to be a modern, subversive twist. So I resisted for weeks, sticking to my reliable playlist of Christmas favourites rather than trying something new. Now that I’ve finally pressed play, I wonder why I didn’t do it sooner. A Kingswood Christmas is a festive feast of nostalgia.

From the opening piano notes of their jazzy take on “White Christmas” I realised I’d misjudged our Aussie rock legends. While their originals have rock edge, these Christmas covers pay loving homage to influences including Frank Sinatra, Bing Crosby, and Nat King Cole.

The piano is a strong presence throughout this album. It reminds me a lot of Vince Gauraldi and his A Charlie Brown Christmas soundtrack. It also gives these tunes a really festive feel. You can just imagine the lads from Kingswood singing around that piano on Christmas Day, with martinis in hand. The album moves from swinging tunes like “Let it Snow” and “Winter Wonderland” to more poignant moments such as “The Christmas Song” and “I’ll Be Home for Christmas.” While secular music dominates, Kingswood still found a place for traditional carols. Classic Christmas tunes like “O Holy Night” and “Silent Night” don’t usually do much for me, but Kingswood’s reverent versions are unexpectedly moving.

If all of that hasn’t convinced you to ditch Michael Buble this year and give our local lads a try, consider this. Profits from all sales of A Kingswood Christmas will benefit Beyond Blue’s Coronavirus Mental Wellbeing Support Service. Christmas is such a tough time for so many people, but the pandemic will no doubt make it harder. Knowing Kingswood are helping out puts another big tick beside this album for me.

A Kingswood Christmas is out now.


Image used with permission from Beehive PR

Posted on by Lauren Katulka

“Lost in Time” – Vivien Aisi

I’m not quite sure where I was when Cairns-based soul singer Vivien Aisi released her three singles this year, but I’m glad I’ve caught up with her debut EP Lost in Time. If like me this talent had passed you by, this five-track EP is the perfect introduction.

Vivien Aisi has a voice that can seemingly do anything. It sits beautifully in the fresh laid-back beat of the opening track “Kiss the Stars,” but sounds equally at home on an old-school soul track like “Yesterday.” I can imagine a classic diva like Dionne Warwick or Gladys Knight busting out this soulful ballad. A lesser artist might pale in comparison to these legends, but this was the track that reinforced to me just how good Vivien’s voice is.

As if her talents needed further reinforcing, Vivien turns her hand to jazz with “Nine to Five.” The mellow horns and that honey voice give this track such a cool vibe. So many EPs peter out, but not Lost in Time. It gains emotional traction with its poignant penultimate number “Just Leave.” Vivien’s voice is clear and composed, but there’s an undercurrent of pain in the lyrics there which is so compelling. If you’ve ever put on a brave face when a relationship falls apart, this is your song. The final number “Lost in Time” feels like a sister track to “Just Leave.” There’s a similar sadness to the lyrics, which is balanced beautifully with a funky electronic groove.

Lost in Time is such a solid debut which leaves me wanting more. It took me a little while to discover Vivian Aisi’s music, but I am so glad that I did. If you love what she does, catch her at the following venues.

16 December 2020 – Elixir Music Bar, Cairns
19 December 2020 – MusicView TV Showcase @ AJ Hackett, Cairns
31 December 2020 – White Party NYE @ Noori Beach Bar & Restaurant, Mission Beach

Images used with permission from Footstomp Music

Posted on by Lauren Katulka

“Revisions 2020” – Josh Pyke

When Josh Pyke released his album Rome a few months ago, I said it felt like the “musical equivalent of a big hug.” In such a tumultuous year, that was just what I needed. After keeping us waiting five years for a new studio album, I didn’t imagine we’d see a new recording quite so soon. Yet last month he dropped another nugget of goodness, his Revisions 2020 EP, and again we’re all better for it.

As the title suggests, Revisions 2020 isn’t quite new music. Instead, they’re B-sides from Rome which see him (mostly) reimagining his biggest hits. That might seem like a superfluous exercise on paper, but listening to it, it all makes perfect sense. There’s a certain ease in these recordings that comes because Josh knows these songs so well. Because he understands them so well, he instinctively knows how they can be improved or enhanced.

The orchestral swell of a choir adds gravitas to the powerful lyrics of “Middle of the Hill.” Slowing the song down lets us linger on each of those words a little longer, ensuring we grasp the story we might have missed on the cheery sounding folk version. The addition of Elana Stone on three of the five tracks is inspired. Her vocals are flawless, and you can sense the chemistry between them. Her inclusion gives Josh someone to play off. I can almost hear the smiles as they bring new magic to “Memories & Dust.” I’ve always felt a loneliness in “The Summer,” but with another voice in the mix it feels less so. Instead, this wistful song captures shared memories and a sense of togetherness. Elana sticks around for Josh’s take on The Jezabels’ “Endless Summer.” I love what they’ve done here. It’s a very different treatment as you might expect, but its soft sweetness is so beautiful. If you haven’t checked out Rome yet (and you really should) Josh reminds you why with his final track, a new take on its single “Doubting Thomas.”

This is all lovely stuff, the kind of EP sure to make you fall for Josh and these songs all over again. 2020 has been a hard year, but Josh Pyke’s music certainly eases the angst. If Rome left you wanting more, your prayers have been answered.

Images used with permission from Sony Music Australia

Posted on by Lauren Katulka

“Epiphonetics” – Shayne Cook

I’ve meant to write about Shayne Cook’s Epiphonetics for a while, but something always stopped me. I wrote at length how much the singles, “The Stawell Gift” and “Matters of the Heart” impressed me, so I wondered whether there was anything left to say. Yet something kept drawing me back to this album. The more I felt the pull, the more I realised I needed to tell you all what an amazing release this is.

“The Stawell Gift” and “Matters of the Heart” hinted at the eclectic sounds we might find on this album. The first is the album’s opener, a haunting track with a rock edge that instantly captivates you and makes you ache to hear more. “Matters of the Heart” is lighter and folkier. It comes much later, a sunny spot in the darkness which gives the listener a chance to catch their breath.

Listening to this album isn’t just about listening to a string of singles. Every song makes sense in its context. They’re personal tracks, exploring the life of Shayne Cook’s father, but you don’t need to know him to appreciate this music. With so many different sounds here, from the emotionally urgent, rock-tinged “Blood” to the tender “Restless Lovers,” there should be something for everyone to latch on to. While this album plays with different genres, Shayne’s voice is a compelling constant. It reminds me a little of Jeff Buckley’s, with its seemingly effortless ability to travel anywhere and touch the heart.

In the digital age, the way so many people listen to music has changed. They download the singles and discard the rest, they shuffle and skip and rarely sit with the album as a whole. Epiphonetics takes me back to a time before all that, a time when you’d press play or lower the stylus and immerse yourself in every song to come. I encourage you to press play on Epiphonetics and just let it be, experience each and every song in the order Shayne Cook intended. I know you won’t be disappointed.

Images used with permission from Annie Johnsson Publicity