Kiwi-raised and Naarm/Melbourne-based, Matt Joe Gow and Kerryn Fields have both impressed me with their solo efforts, so it was inevitable that I’d fall hard for their new album of duets, I Remember You. With a natural chemistry and knack for songwriting, the pair have created some of the best music you’ll hear this year.
There’s a natural connection between the artists which is so appealing to listen to. I love the way their voices complement one another, but there’s more to love than simply their sound. There’s an electricity when they make music together, a bond that’s evident as they join their talents. Listening to poetic lyrics referencing their homeland, there’s a shared understanding that helps these songs resonate. Together they take us on a musical journey, from playful romantic numbers like the opening track “Your Heart of Gold” and “Prairie Song” to haunting songs like “No Trace” and “Dead Flowers and Stale Wine.”
As you might expect from these artists, the music is richly organic. I can imagine it sounded exactly this way when the pair laid these songs down. When so much music gets overproduced, hearing music like this that’s allowed to shine just as it was created is special.
I Remember You is out now. Matt Joe Gow and Kerryn Fields are currently playing shows together in Aotearoa/New Zealand. Here are the remaining dates.
Parade may be the best musical you’ve never heard of. Its original 1998 Broadway run lasted just three months. The 2023 Broadway revival also ran for less than six months, although it did take home a key Tony Award for Best Revival of a Musical. I get it. It’s a hard sell. In a market saturated by jukebox musicals and productions based on familiar stories, an original musical about a Jewish factory manager accused of a young girl’s murder in 1913 seems pretty dreary. Yet Parade endures because it’s incredible. Independent Naarm/Melbourne theatre company Soundworks Productions staged Parade in their hometown late last year and have now brought it to Eora/Sydney. I’m so glad they did.
So you might wonder when such crowd-pleasing fare like Grease and & Juliet are currently playing, why would I decide to see Parade instead? I’m so glad you asked. Firstly, Jason Robert Brown. We loved his musical “The Last Five Years,” and trusted that he’d do something wonderful with this true story. I was also so moved watching New York director Michael Arden’s empassioned speech at last year’s Tonys. He said “Parade tells the story of a life that was cut short at the hands of the belief that one group of people is more of less valuable than another and that they might be more deserving of justice.” It might be set in the aftermath of the Civil War, but this is a modern story that still resonates today.
The Broadway production starred one of my favourite actors, Ben Platt, who was nominated for a Tony for his role, so I wondered how an Aussie might possibly come close to his performance of Leo Frank. It’s such a pivotal role, the casting is everything. But wow, Aaron Robuck is sensational. As I listen to the Broadway cast recording today, I’m convinced that so many of the players in this Aussie production are just as good, if not better, than many of their American counterparts. Montana Sharp brought a beautiful warmth to her performance of Lucille that seems lacking in Micaela Diamond’s portrayal. As a longtime Australian Idol fan, I was thrilled to see Tarasai Vushe playing the dual roles of Minola McKnight and Angela. After they wowed me in The 25th Annual Putnam County Spelling Bee last year, it was so exciting to see Adeline Hunter and Rebecca Ordiz shining again.
There’s no getting around it: Parade is a tough sell. It’s difficult to watch in parts, but it’s such an important story. It’s themes of prejudice and trial by media resonate today. And at its core, it’s a love story. I haven’t been as moved in the theatre in a few years. It’s honestly one of the most incredible shows I’ve ever seen. If you’re anywhere near Eora/Naarm, go. You will not be disappointed. It’s on at the Seymour Centre until May 26.
In 1999, a who’s who of the Australian entertainment industry descended on Dili to entertain our troops. Australian Road Crew Association has now released a recording of their star-studded concert. Tour of Duty Live at National Stadium’s release marks the first time that people could enjoy this concert since it originally aired on Channel Seven and Nine.
This album captures a moment in time. It feels like forever since Roy & HG hosted a gig, and gee it’s good to hear them taking the reins here. We get to hear Doc Neeson at the height of his powers delivering hits like “Shadow Boxer” and “No Secrets,” and John Farnham belting out so many of his classics like “Playing to Win” and “That’s Freedom.” He even “reluctantly” agrees to a rousing rendition of “Sadie (The Cleaning Lady)”! We’ve lost Doc, and likely we’ll never hear John Farnham sound like this again, so it’s a real thrill listening to them separately and duetting on timeless tracks like a medley of The Easybeats’ “She’s So Fine” and “Sorry.” Relative up-and-comers at the time like Gina Jeffreys and The Living End also make incredible appearances, along with our pop princess Kylie. You couldn’t wipe the smile from my face as I listened to big singalong numbers featuring the entire cast like “You’re The Voice” and the poignant closer, “I Still Call Australia Home.”
Admittedly some bits haven’t aged well, from the RMC Band’s cover of “Mambo No. 5” to John Farnham introducing Rachel Starkey of the RMC Band as a “pretty young lady.” But again, I remind you, this album captures a moment in time. And what a moment it was.
If there wasn’t enough incentive to get your ears around this release, all money raised with benefit Support Act’s Roadies Fund, which provides financial, health, counselling, and wellbeing services to local roadies and crews in crisis. Tour of Duty Live at National Stadium is out now and available on streaming services and as a digital download.
GuriNgai and Darug Country/North-West Sydney-based indie-rock outfit In Good Hands have just dropped their debut EP, Daylight. The title reflects the feel-good tunes the band showcases on this six-track release.
You might not expect a band like In Good Hands to release such upbeat music. They hit the scene in 2020, a less-than-ideal time for any musicians, especially those trying to establish their reputation. They felt the impact of the COVID lockdowns as their debut shows were cancelled and their creative process was pushed online. However, you know what they say about the things that don’t kill you making you stronger.
Rather than letting the setbacks defeat them, In Good Hands used the time to hone their craft. Their efforts developing their sound and songwriting skills haven’t gone unnoticed. Tracks like “Lately” and “How ‘Bout Time?” lyrically encapsulate the frustrations of feeling like you’re wasting your youth while the world presses pause. It’s heavy subject matter, but it’s lifted by the connection you hear between these musicians who clearly relish coming together. The optimism they feel as they forge forward is evident in “Fly Away.” As the opening track, it sends a strong message that no matter what the band or their listeners have been through, everything’s going to be okay.
With the release of Daylight, In Good Hands showcase their resilience, tenacity, and above all, talent. The future looks bright for this local band. They’ll officially launch the EP for hometown fans at Oxford Art Factory in Eora/Darlinghurst on May 31.
Grace Cummings is an artist like no other. No one sounds like her, no one is making music like her; she’s simply in her own lane. Listening to her third album Ramona gives you a deep appreciation for that.
Grace’s voice is the first thing you notice. It’s richly textured, wise beyond her years, deep and full, passionate, uniquely beautiful. Her hushed tones remind me of Dusty Springfield, but then there’s the raw, earthy side that’s a little like Janis Joplin. Honestly, it’d be enough to keep me interested. But then there are the songs. Each one incredible, with a classic sound you can’t quite put your finger on. There are elements of soul, gospel, blues, but you can’t put them neatly into any box. They simmer with emotions that threaten to bubble over, casting a spell each and every time.
One of the things I love most about Ramona is its vintage sound. It’s pure, free from the interference of modern technology. I can imagine Grace and her bandmates playing these songs at producer Jonathan Wilson’s Topanga Canyon studio just as you hear them, in one take. The beautiful thing about music like this is that it’s likely to be just as good, if not better, when you witness it live. Thankfully for us, she’s got plenty of shows scheduled all around the world at beautiful intimate venues. Tickets are on sale now and aren’t likely to last long:
With the rain well and truly setting in this week, it’s hard to believe that just a few days ago I was kicking back at James Taylor’s Bimbadgen Estate show. The last time I attended a Day on the Green show we were evacuated, so I felt blessed that Saturday’s conditions were perfect. The cool but not cold weather was such a welcome change from the 40-degree day I experienced last time. Maybe we need more Day on the Green seasons stretching into autumn. At any rate, I couldn’t have asked for better weather for an outdoor show.
I had just enough time to grab a couple of bottles of bubbles before settling in for Ella Hooper’s set. The frontwoman of an early naughties rock act might seem a little out of place on this bill, but like so many of us Ella’s mellowed over the years. The folky tracks from her latest album Small Town Temple were the perfect soundtrack for a cruisy Saturday afternoon. The stories she shared encouraged us to tap into the lyrics. After a friend told me Killing Heidi tracks didn’t make the cut at her recent Darkinjung Country/Avoca Beach, I was pretty excited to hear a stripped-back take on “Weir.” Believe it or not, adding a fiddle works!
It’s also a pleasure watching Josh Pyke perform. He’s been a force in the Australian music scene for so long that every song feels familiar, at least for me. My mum leaned over and told me she thought he was very good … it was then that I realised that while I know Josh’s music well, this was her introduction. In fact, looking around I’d wager that many of the James Taylor lovers in the audience were hearing Josh for the first time. His gentle folk and poetic lyrics aren’t a world away from the music James makes though, so like Mum I’m sure plenty left impressed. Even if he didn’t end getting as many new Instagram followers as he aimed for. My Mum, bless her, was keen to help Josh beat Phil Jamieson’s tally, but alas she discovered she doesn’t have Instagram. Perhaps sensing that his music was new to so many in the audience, Josh also treated us to a few choice covers. His take on “New Slang” was spectacular, even if it wasn’t quite as crowd-pleasing as his version of “Blackbird.”
James Taylor is a music legend, but he doesn’t make a lot of fuss about it. Most bands take the stage first, encouraging the crowd to get hyped up before the artist graces us with their presence. Not James. He just strolls out, waves shyly to the crowd, and gets on with it. And get on with it he did, serving up a beautiful version of my favourite James Taylor song “Something in the Way She Moves” straight out of the gate. Where do you go from there? Of course, there are plenty more incredible songs where that came from.
I’d be remiss if I didn’t mention that James’ voice is showing signs of age. It’s a little shaky, without the ease heard on previous tours. The stripped-back acoustic songs that made James a household name leave nowhere to hide. But I’ll take a performance with heart over one with perfect vocals any day. I’ve seen shows where I felt like older performers were phoning it in, clearly tired of the material they’d performed for decades. Not James. He seemed so connected, so present, so happy to bring us this music. He praised the beautiful venue, gushed about the moon, and let us know he was so happy to play for us all. It’s been a long while since I’ve seen a veteran performer so in the moment.
He wasn’t alone though. The marketing promised an all-star band and boy did it deliver. Backing vocalists who’ve sung with Michael Jackson, Whitney Houston, Billy Joel, k.d lang, Warren Zevon. A drummer who’s played with Steely Dan, Paul Simon, Chick Corea, and Eric Clapton. A guitarist who also played with Steely Dan, along with Bread, David Crosby, and Graham Nash. Reading the resumes of these top-tier session musicians is mindblowing.
The set was incredible. When artists have such a rich back catalogue, you usually leave wishing they’d played something or other, but there was nothing I was left wanting for. I loved seeing my Dad’s face light up as he sang along to songs we didn’t expect like “Yellow and Rose” and “Steamroller Blues.” In fact, James’ catalogue is so vast that he faked us out a few times. He introduced a song about his home in Carolina, and upon hearing our applause he told us it wasn’t the one we were thinking about. Oh not “Carolina on Mind”, or at least not yet … “Copperline.” And the song his dear friend Carole wrote … well that wasn’t “You’ve Got a Friend,” or again not yet, but “Up On the Roof.
James’ music has been the soundtrack to many road trips, board game nights, and lazy days at home for my family. Just as I’m conscious of James’ advancing years, I know my parents aren’t getting any younger. I relished the opportunity to see James performing these songs for us all, one last time. I linked arms with my mum as we sang “Shower the People” at top note. She put her hand reassuringly on my knee as I wiped away tears during “You’ve Got a Friend.” You rarely know when you’ll see a performer for the last time, and thinking about that brought me undone. Thankfully James was there to pick me right back up and encourage me to get on my feet with “How Sweet It Is (To Be Loved By You).” He might be getting older, but James has still got some moves! It seemed like a fitting finale, but none of us were quite ready for that, so he asked whether he could play one more. Of course. The most exquisite version of “You Can Close Your Eyes.”
It’s bittersweet watching a performer, knowing it’ll be the last time. He could have called it a day without taking this final lap of the country, but I’m so thrilled he gave us a chance to say goodbye. I did my best to take in every moment, to soak it all in knowing I won’t be able to share his live music with the special people who introduced it to me again. Thank you James, for returning to our shores one last time and leaving us all with such special memories.
I’ve been championing The Dreggs since they released their debut EP, Seas Embrace, back in 2018. They’ve never put a foot wrong, but like a fine wine, they’ve gotten better over time. Now with the release of their long-awaited debut album Caught in a Reverie, I think this Kabi Kabi Country/Sunshine Coast duo is truly stepping into their powers.
The album opens with “Peeps With the Goods,” a recent single that wowed me so much that I wondered whether the band might have set the bar too high. It’s brilliant, but so is every song that follows it. Every single song. Paddy Mccrae and Zane Harris know how to craft a song. Their voices seem to complement one another effortlessly. They’ve got a strong instinct for indie folk. It runs through every track, through every note of the duo’s acoustic guitars. While this is clearly the place they feel most comfortable, the soulful notes of “Peeps With the Goods” and rock vibes of “She Picks Flowers” show they’ve got more to explore.
While I think The Dreggs have matured as a twosome, they haven’t ventured too far from what first captured my attention. When I wrote about Seas Embrace, I noted the way the music helped me through a loss, and how I was sure it would make others feel better. This album is a little darker, with songs exploring grief in a very real and unfiltered way, however ultimately the duo still arrives at a positive place. The Dreggs might be older, wiser, but they don’t sound jaded yet. Their music still feels hopeful, it still has the power to bring a smile to your face and nurse you through whatever you’re facing. It just has a little more substance behind it these days.
Caught in a Reverie is out now. The album launch parties are already sold out, but if you missed out, don’t worry. After playing shows in Europe, The Dreggs will do another lap of the country in June before heading to New Zealand. Just like those launch parties, tickets probably won’t last, so make sure you get them while you can.
Hana & Jessie-Lee’s Bad Habits impressed me with their single “Paper Boats” last month, raising my expectations for their sophomore album sky-high. There are so many bands that drop incredible tracks, but their albums just don’t meet your expectations. With Say What You Mean, Hana & Jessie-Lee’s Bad Habits prove they’re one of the most exciting bands around.
Say What You Mean is one of those albums that grabs you from the first note. The music feels classic, and those textured vocals with just a hint of yodel are so compelling. I can imagine listening to “Misery Queen” at a smoky bar somewhere, whiskey in hand. It’s so much fun, but there’s a darkly humourous underbelly that runs through so much of Hana & Jessie-Lee’s Bad Habits’ music. Their tongue-in-cheek lyrics bring to life the flush of infatuation in “Arrowhead”, the agony of terrible dates in “The Tallest of Tales,” and the difficulty of dealing with problematic people in “Bullseye”. It’s left of centre, and one of the big reasons that the music Hana & Jessie-Lee’s Bad Habits creates it’s so appealing. This twosome knows how to create those sassy singalong songs so well, but everyone now and then they switch gears. Quieter moments like “Insomniacrobat” and “Tether” show a fragility that’s so compelling. These women might be bad-arse, but they’re not afraid to lay their hearts bare.
Hana & Jessie-Lee’s Bad Habits sit in a rare space on the Australian music landscape. There aren’t too many acts making this kind of music. There are even fewer female duos delivering it here in this country. It’s alt-country, with rock and roll swagger, a dash of honky-tonk, and the heart of the blues. It’s authentic, without pretension, as good country should be. It’s organic. You get the sense that you could see them live and their harmonies would be just as flawless, the musicians would be just as tight.
Say What You Mean is available now digitally, and there’s a vinyl and CD to come. Hana & Jessie-Lee’s Bad Habits will give us a chance to see just how good they are live when they play shows across four states this May and June.
27 April 2024 – Castlemaine Pride Festival @ Mechanics Lane, Dja Dja Wurrung Country/Castlemaine (FREE) 3 May 2024 – The Eastern, Ballaarat/Ballarat 4 May 2024 – Trashcult Records, Dja Dja Wurrung and Taungurung Country/Bendigo 9 May 2024 – The Royal Oak Hotel, Kanamuluka/Launceston (FREE – duo show) 11 May 2024 – MONA, Nipaluna/Hobart (FREE – duo show) 17 May 2024 – The Grace Emily, Tarntanya/Adelaide 18 May 2024 – The Stone Pony, Wirruwarrungga/Willunga 24 May 2024 – Tanswells, Baarmutha/Beechworth (FREE) 25 May 2024 – The Old Bar, Naarm/Melbourne 30-31 May 2024 – Cronulla Jazz & Blues Festival, Gweagal Country/Cronulla 1 June 2024 – The Golden Barley, Eora/Sydney (FREE) 2 June 2024 – The Junkyard, Wonnarua Country/Maitland (FREE) 15 June 2024 – Memo Music Hall, Euroe Yroke/St Kilda 22 June 2024 – Odessa Leavers Hotel, Dja Dja Warrung Country/Creswick (duo show)
Image used with permission from Jo Corbett Publicity
The Pierce Brothers have been one of Australia’s finest indie-folk acts for more than a decade. With the release of their third album Everything is Bigger Than Me, brothers Jack and Patrick Pierce are showing they can do more than simply write and perform incredible songs. They’ve co-produced this album alongside longtime collaborator Phil Threlfall and recorded it at Jack’s home studio. The resulting collection of songs may just be their best yet.
Of course, this album was always going to be wonderful. I’d already been wowed by the singles “Studio”, “Bottle”, “Wilder”, and “In the Water.” But they’re far from the only exemplary tracks on this album. I have relished getting to fall in love with each and every song showcased here. They’re built on a solid foundation of beautiful lyrics, irresistible melodies, and sublime harmonies, just as the Pierce Brothers’ music always has been. But the lads have added new, exciting layers this time around. The arrangements are so lush and textured, and the lyrics seem more revealing. The emotion in the vocals of “Blood” is palpable. And you won’t hear a more heartfelt love song than “White Dress.” This music is so intimate, encouraging you to step inside the Pierce Brothers’ world and stay a while. These gentle moments provide a counterpoint to those raucous singalong songs like “Bottle” and “Everything is Bigger Than Me” that this twosome does so well.
Everything is Bigger Than Me is a special album from one of Australia’s best acts. It encourages repeat listens, and there’s no better time to start than now. The Pierce Brothers are currently making their way around the country. Make sure you see them anywhere you can.
Naarm/Melbourne-based singer-songwriter Leo has impressed me with their debut EP Please Leave Quietly. The five-track EP delivers the perfect combination of infectious melodies and lyrics that speak from the heart.
“It is incredibly introspective and focuses on the feelings associated with loss, abandonment, and isolation” Leo explained. “The title was chosen to serve this introspective motion with the idea of ‘I know you’re going to leave and that’s okay – I would too. But when you do, the only thing I ask is that you do it quietly.’”
Leo is exactly the kind of songwriter that I love. Their lyrics are brutally honest. They’re unafraid to lay bare their own emotions and stories of pivotal moments with other people. These lyrics don’t shy away from the hard stuff, and Leo acknowledges that when you’re young and just trying to figure stuff out, so much of it is hard stuff. There’s pain and pathos in these lyrics, but the melancholy moments are typically balanced out with Leo’s wry sense of humour. A defense mechanism, maybe. But it gives these songs such a distinctly Australian flavour. They’re so relatable that they’re instantly endearing.
These songs are also total earworms. I’ve been lucky enough to listen for a few days, and I catch myself humming the tunes at random moments. They’re so catchy, in the best possible way. It feels unfair to single out these songs because they’re all incredibly strong, so I’m just going to let you listen and decide which one’s your favourite.
Please Leave Quietly is out now. Leo and their live band will launch the EP for hometown fans at The Old Bar on April 19.
