Category: Reviews

Posted on by Lauren Katulka

“Live” – Ian Moss

Like many music lovers, I miss attending concerts most of all in these pandemic times. Live streams fill the void somewhat, but who knows how long it’ll be until I’m sitting in a room with other music lovers watching one of my favourite artists perform once again. The cravings are real, but Ian Moss has gone some way towards satisfying them with the recent release of his live album, simply called Live.

Recorded over two shows at Canberra’s Playhouse and Sydney’s Enmore Theatre in July 2018, the album captures all the electricity of one of Mossy’s live sets. The tracklist balances popular Cold Chisel and solo singles with some unexpected gems. Well-known tracks like “Choir Girl” and “Tucker’s Daughter” are perfect for singalongs while the less familiar numbers give Mossy space to spread out and experiment. I found myself marvelling as he jammed out with his six-piece band on tracks like “Janelle” and “One Long Day.” This album captures so beautifully those moments that would floor you in the room, where the musicians are so totally caught up in the groove.

“It was great to be back out and touring Australia with a big band full of extraordinary talent and exceptional musicians and playing to some of the best audiences I’ve ever played to,” Ian reminisced. “The crew we had on the road with us were some of the best in the business and of course, having the new studio album, Ian Moss, full of songs, with me at the helm of the songwriting to play was fantastic”.

Ian Moss’s Live is exclusively available from digital services including Spotify and Apple Music. If you love what you hear, remember Ian Moss will be back on the road next year. Here are all the shows we can look forward to in early 2021.

24 & 26 February 2021 – Jetty Theatre, Coffs Harbour
27 February 2021 – Manning Entertainment Centre, Taree
5 March 2021 – The Art House, Wyong
6 March 2021 – The Glasshouse, Port Macquarie
26 March 2021 – Latrobe Performing Arts Centre @ Town Hall, Traralgon
27 March 2021 – The Wedge @ Performing Arts Centre, Sale
7 April 2021 – Swan Hill Town Hall, Swan Hill
9 April 2021 – Mildura Arts Centre, Mildura
10 April 2021 – Broken Hill Civic Centre, Broken Hill
16 & 17 April 2021 – Tanks Arts Centre, Cairns
23 April 2021 – Dubbo Regional Theatre & Convention Centre, Dubbo
24 April 2021 – Tamworth Town Hall, Tamworth
1 May 2021 – Wagga Wagga Civic Theatre, Wagga Wagga

Images used with permission from Ferris Davies PRM; header image credit: Daniel Boud

Posted on by Lauren Katulka

“Nyaaringu” – Miiesha

I always believe we find music at the right time in our lives. Miiesha could never have known how much the systemic racism of black people here and abroad would be in the spotlight when she planned to release her album Nyaaringu. It’s a beautiful serendipity that in doing so she released the album we need to hear right now.

Miiesha is a proud Pitjantjatjara/Torres Strait Islander woman from Woorabinda in Central Queensland. She called her album Nyaaringu because that means “what happened” in her traditional language. Her songs address so much of what has happened throughout history and her lifetime. It’s an album about racial and cultural identity, about community, and about truth.

“Caged Bird” is such a powerful introduction. The production is pared back, ensuring we can hear every lyric from Miiesha. Her modern voice is complemented so beautifully by the native dialect of her backup singers, their voices supporting hers in the quiet.

Interludes between the songs add other voices to the mix. We hear the wisdom of her late grandmother, the white privileged tone-deaf voice of former prime minister Tony Abbott. These voices create a more complete picture of the issues this album touches on.

Despite the album’s name, this is a really contemporary album. Miiesha’s voice sits over electronic beats. While we hear a little traditional language, most of the album is in English. That gives her music an accessibility, ensuring the message gets through.

You can certainly groove around the house to Miiesha’s music. She’s got a great sound, such a rich voice with a beautiful tone. But she’s also got an awful lot to say that we really should hear. Lines like “Survival ain’t that beautiful, I just make it look this good for you” from “Black Privilege” and “I could be the sum of more than just something that I could control” from “Hold Strong” will stay with me.

We’ve heard it so often over the last week or so, but it bears repeating: take the time to listen. If you’ve resolved to educate yourself on the issues and hear more black voices this week, Miiesha’s Nyaaringu is the perfect place to start.

Image used with permission from EMI Music Australia

Posted on by Lauren Katulka

“Melancholy” – Chris Lanzon

Sydney singer-songwriter Chris Lanzon wears his heart on his sleeve with the release of his latest EP Melancholy. As its name suggest, it’s a sombre affair. However, its honesty and emotional depth make it a compelling listen.

The beautiful opening piano intro sets the tone for these introspective numbers. The songs speak of the heartbreak and lingering heartache of lost love. There’s no frills or fanfare, just a man working through his emotions the best way he can. Chris recorded and produced these songs in his bedroom. That gives them a greater intimacy than your average studio recording. Most of these songs have solo songwriting credits too, ensuring his voice is undiluted and pure shining through the hurt.

That voice is so compelling. It’s brimming with emotion. If you’re feeling fragile after your own breakup, it could break you. However, Chris’ gentle tones are soothing too, as if given time it could put you back together again.

Melancholy takes us to an emotional place many of us might not want to go, but it also reminds us of the beauty that can be found in the darkness. It’s available on all your favourite streaming platforms now.

Image used with permission from Arow Agency

Posted on by Lauren Katulka

“Purple” – IV Dante

Barely in his 20s, Melbourne artist IV Dante wasn’t even a twinkle in his parents’ eyes when the music of the ‘80s filled the airwaves. However, the lush synth sounds and overdriven guitars that dominate his new EP Purple take me right back to my childhood. Ask a younger listener and they’d likely hear something different though. They’d hear the influences of modern indie-pop darlings like The 1975 and LANY.

Perhaps all those influences are in there, combining to create music that feels nostalgic, yet fresh and exciting all at the same time. All I know is that I was hooked from the first strains of “Napping in Night Clubs.” Like the best indie-pop music, the EP’s four tracks are sweet, but never saccharine. They go down easily, but there’s an edge about them that makes them relatable. They also absolutely make me want to dance. And being cooped up in iso, that’s exactly what I need.

Fire Purple up on your streaming service, but make sure you hit repeat. If you’re anything like me, you’ll want to listen more than once.

Images used with permission from Firestarter Music

Posted on by Lauren Katulka

“Running With the Wolves” – Azure Ryder

I might be in the minority, but I don’t mind this period of isolation. I am missing certain things of course, and I have my worries. But I’m enjoying the slower pace. Work has quietened, and rather than thinking too far ahead about that I’m relishing the opportunity to take a little more time for passions. I’m spending a lot of time with music, enjoying the kind of deep listening that comes when you’re not trying to get a million things done at the same time. Rather than listening once or twice, then moving on to the next thing, I’ve spent all day listening to Running With the Wolves, the debut EP from New South Wales’ Azure Ryder. It’s made my day that much brighter.

That I could listen to this EP on repeat when it has just four songs is a testament to their quality. Each one is a standout, anchored by Azure’s warm, husky tone and honest songwriting. The opening track “Dizzy” is a powerful meditation on the importance of being open, to relationships and life in general. “Wolves” is a delicate acoustic guitar ballad, a poignant moment that is much gentler than you might expect of a song referencing wild animals. We emerge from the dreamy “Wolves” with “Stir the Dust,” a call to arms that harnesses pain as a force for change and growth. The EP ends with “Crimson,” a poetic exploration of a complicated relationship. Azure weaves references to nature through her songs. The sky, the rain, the earth, fire, these elements ground these songs and give them an even greater, tangible beauty.

“This is really the beginning of my story,” Azure explained “these songs are my leap of faith, taking control over the way I choose to wear my heart over my chest. I believe that feelings know no limits and music allows for that freedom. I hope that this EP will remind whoever listening that it is okay to feel everything, it’s okay to be human, it’s okay to feel alive! Own it, every little piece of yourself, that’s yours and no one else’s.”

I am so impressed with Running With the Wolves. It’s an accessible collection of songs that gets richer with every listen. I can’t wait to hear the rest of Azure Ryder’s story unfold. Running With the Wolves is out now.

Image used with permission from Universal Music Australia

Posted on by Lauren Katulka

“Liberosis” – Yorke

There’s something about Yorke’s debut EP, Liberosis, that keeps drawing me back in. I listened to an advanced stream weeks before it dropped near the end of March. I enjoyed it immensely, marvelling at her intimate vocals and introspective lyrics. I thought she was musically so interesting, with a natural flair for layering beats with accessible indie-pop melodies. Yet, strangely enough, I didn’t put my fingers to the keyboard and write a review.

The very best music isn’t there for us in mere moments. We return to it time and time again. Listening to the songs from Liberosis this morning felt like catching up with an old friend. My husband stopped to listen and asked me whether it was the new Taylor Swift album. There’s a similar sweetness about Yorke’s vocals, a comparable knack for killer pop melodies. Just like Taylor, Yorke isn’t afraid to write confessional lyrics either. Songs like the single “Nights We Waste” expose the mistakes, the drinking, the questionable relationship choices. It’s messy, but growing up always is. And when you have the right soundtrack, it’s a little easier to bear. As those of us who’ve lived through it understand, with the right tunes you can figure out who you are, and what you want.

With Liberosis, Yorke shows great potential. It’s pitch-perfect pop, the kind of music that’s easy to underestimate, especially if you’re an old, jaded listener. However, spend some time with it and you might just find it restores your faith in the genre.

Yorke has pushed back her Liberosis launch shows to October. Tickets are available now from her website. You know everyone will be desperate for live shows by then, so get in early to avoid missing out!

15 October 2020 – Black Bear Lodge, Brisbane
16 October 2020 – Waywards, Sydney
17 October 2020 – Grace Darling, Melbourne

Image used with permission from Island Records Australia

Posted on by Lauren Katulka

“Speed of Life” – Adam Brand

When I received a press release declaring Adam Brand’s new album Speed of Life was “his best and most positive work yet,” I expected it was more of the same promotional spin. I’ve never really considered myself an Adam Brand. I thought he was a competent country singer, but for me he kind of blended into the Tamworth scene, never standing out the way a Keith Urban or Kasey Chambers does. Yet as I listened to his new album Speed of Life, I realised his marketing team was onto something.

Adam has no doubt benefited from working with Luke Wooten, who has produced albums for country luminaries including Dierks Bentley and Brad Paisley. His work gives this album a real polish, but as the old saying goes you can’t polish a turd. You need quality material to work with and this album has that. The songwriting is first-rate, reflecting Adam’s content in a happy marriage after the birth of his first child. There’s a persistent myth that you need pain and heartache to fuel the best music, but this album proves that’s simply not so. There is so much wisdom here, so much meaty material that can only come when you’ve lived a life and found some peace.

Speed of Life opens with the title track, a country-rock ballad reminding us all to take time to slow down and enjoy the ride. The first single “Life’s Been Good to Me” comes next, anchoring the album with its positive, personal reflections on his good fortune. “Just a Love Song” notes the inadequacy of the three-minute love song to really encapsulate the love he feels for his wife, while “Don’t Wanna Let You Down” is a beautiful vow to his daughter. Everything Casey Donovan touches seems to turn to gold, so it’s unsurprising that Adam’s duet with her, “You Are Not Alone” is one of the album’s strongest tracks. Don’t think Adam has gone completely soft though. “Freakin’ Weekend” should satisfy the listeners looking for a good old-fashioned country party anthem. It feels a little out of place on this collection, but it’s still a hell of a lot of fun.

Speed of Life is out today. Sadly, Adam has had to cancel his upcoming tour due to a throat and vocal cord condition, but hopefully he can get out and play these songs for fans once he recovers. It’s a real shame because these songs are some of the best he’s written and they deserve to have the biggest audience possible. Until then, fire them up on your favourite streaming service or get the album from all your local music store now!

Image used with permission from Universal Music Australia

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: Stephen Katulka

Posted on by Lauren Katulka

“Conversations With Myself” – Vetty Vials

Vetty Vials’ debut album Conversations With Myself has been three years in the making. Time can be the enemy of the recording process. Invest too much of it and you overthink and overproduce, giving the music a slickness that undermines their authenticity. Yet this collection of songs retain a spontaneous energy that makes them so compelling.

The album title is so telling. These songs feel like intimate confessions, the kind of tunes you might sing out in the privacy of your bedroom when you think no one is listening, with lyrics ripped from the pages of a diary. They might be three years coming to us, but they still feel endearingly raw.

Vetty’s voice has a sweetness about it which reminds me a little of Ella Hooper’s. Its angelic tone provides a delicious contrast to the bold bassline and driving drums in rockier numbers like “Pride” and “Dust.” Personally I think it’s at its best in heartbreaking ballads like “Say” and “Nowhere Feels Like Home.” The quieter instrumentation gives her voice room to breathe, supporting it subtly while ensuring you can hear and appreciate every nuance.

In just eight tracks, Vetty Vials delivers a diverse collection of songs that should appeal to most music fans. It’s on the short side, but leaving us wanting more isn’t entirely a bad thing. Vetty Vials has hit the ground running, playing shows all around the country to support the recent release of Conversations With Myself. She’ll play two shows in Melbourne in the next couple of days. Catch her at The Old Bar tomorrow night or the Tramway Hotel on Saturday night for a special acoustic set.

Image used with permission from Beehive PR

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: Stephen Katulka