Category: Reviews

Posted on by Lauren Katulka

“Giving It Away” – Claire Anne Taylor

Claire Anne Taylor may just be the greatest singer you haven’t heard of yet. I know that sounds like an incredibly bold claim, but press play on her latest album Giving it Away and see if you don’t agree with me.

I’ve had this album on repeat since its release on Friday, and I think I love it a little more each time. It’s such a strong collection of songs. Each one is well-crafted, skillfully written with turns of phrase that speak to the heart and bring you to your knees. They come from such an honest place. You can hear the connection between Claire Anne and her musicians. This isn’t music made to sell records or promote a brand. It’s authentic, organic, raw, and real. And then there’s Claire Anne’s voice, like cigarettes and whiskey, so textured and compelling, full of soul and passion.

Giving it Away is an album that explores love, loss, grief, and acceptance. Writing and recording this material became a kind of therapy for Claire Anne as she struggled to process her 14-month-old son’s recent diagnosis of Angelman Syndrome. Others might retreat after such a blow, but not Claire Anne. This album bears the scars of that tumultuous period, but also her warrior spirit.

Giving it Away doesn’t shy away from the darkness. Tracks like “Lay You Down In the Cold Hard Ground” and “Giving It Away” are heart-breaking. But they’re balanced so well with lighter fare like “Dance With Death” and “Keep on Truckin’.” This album takes you on a journey through the entire human experience, and it’s beautiful.

I haven’t heard an album like this, or a voice like Claire Anne Taylor’s, in such a long time. It’s special. Take a listen, and if she’s anywhere near you, make sure you get out and see her play. Something tells me she might be even more amazing live.

22 February 2024 – Shotkickers, Naarm/Melbourne
23 February 2024 – Palais-Hepburn, Dja Dja Wurrung Country/Hepburn Springs
24 February 2024 – Archies Creek Tavern, Gunai Country/Archies Creek
25 February 2024 – Sedgwick Hall, Dja Dja Wurrung and Taungurung Country/Sedgwick
28 February 2024 – The Ellington, Boorloo/Perth
29 February 2024 – The Buffalo Club, Walyalup/Fremantle
1-4 March 2024 – Nannup Music Festival, Noongar Country/Nannup
16 March 2024 – Sandy Point Community Centre, Gunaikurnai Country/Sandy Point
17 March 2024 – The Old Gaol, Baarmutha/Beechworth
22 March 2024 – Tomerong Hall, Yuin Country/Tomerong
23 March 2024 – Frank’s Wild Years, Dthirrawell/Thirroul
24 March 2024 – Petersham Bowls Club, Eora/Sydney
30 March – 1 April 2024 – National Folk Festival, Ngambri/Canberra
18 April 2024 – Upper Lansdowne Hotel, Upper Lansdowne
20 April 2024 – Lowanna Community Hall, Burgong/Lowanna
26-28 April 2024 – The Gum Ball Festival, Wonnarua Country/Belford
3 May 2024 – Jetty Theatre, Gumbaynggirr Country/Coffs Harbour
4 May 2024 – Brunswick Picture House, Wurundjeri Woi-wurrung Country/Brunswick
5 May 2024 – Dust Temple, Yugambeh Country/Currumbin
10 May 2024 – The Citadel, Kalibai Country/Murwillumbah
11 May 2024 – It’s Still a Secret, Meeanjin/Brisbane
12 May 2024 – The Majestic Theatre, Karura/Pomona

Images used with permission from Jo Corbett Publicity

Posted on by Lauren Katulka

“The Woodshed Sessions” – Matt Joe Gow

While his next official studio album is some time away, Matt Joe Gow has dropped a special treat for his fans online. Exclusively available online, The Woodshed Sessions is a beautiful collection of Matt’s best loved songs stripped back to their very essence.

This is a live album with a difference. Instead of recording it in front of an audience, Matt recorded the stripped back, acoustic versions of these songs in the studio in just one take. It’s a brilliant idea. While I love the energy of live recordings, the crowd noise can get distracting and the sound quality is often poor. There’s an energy to these songs too, but that comes from the dynamic between Matt and the members of his long-time band The Dead Leaves. You can feel the chemistry as their voices combine in beautiful three-part harmonies. Hearing the way the vocals sat alongside the piano and strumming of an acoustic guitar, I thought this is what music should be. It’s organic and pure, coming from the soul so naturally, free from studio “enhancements” like autotune and drum machines.

If you’ve listened to Matt’s music before, you know these songs are ripe for this kind of treatment. In acoustic mode, their introspective lyrics and perfect melodies come to the fore. If you’re new to Matt’s music, this compilation of career highlights makes the perfect introduction. It’s really like a greatest hits with a beautiful acoustic twist. I can’t wait to hear new music from Matt, but this release will keep me satisfied until that time comes. I’m going to leave you with this video of “Grand Ambition” from The Woodshed Sessions; check it out and I’m sure you’ll want to discover the rest of the tunes. You’ll find The Woodshed Sessions on all your favourite streaming services. If you’d like to purchase a physical CD copy, head to Matt’s Bandcamp page.

Main photo credit: Lucas Packett

Posted on by Lauren Katulka

“Yours Forever” – Jessica Mauboy

Jessica Mauboy has one of the best voices in the country. It’s undeniable. She’s been wowing us since she stepped out in front of the Australian Idol judges as a shy teen in Alice Springs. But what isn’t said enough is what a talented songwriter she is. Yet that’s what really struck me on listening to her latest album Yours Forever.

“Yours Forever is me at my truest self, comfortable in my skin, not comparing myself or trying to be someone or something that anyone expects me to be,” Jess says. “When you strip it all back, musically it’s beautiful melodies, storytelling lyrics, rhythms that connect with the soul, and it has a depth that I’ve never gone to or shared before.”

She wrote and recorded these songs on home soil, and perhaps that’s helped her better connect to the music. Perhaps she’s just a bit older and wiser these days. Either way, it works. This album has the floor fillers that Jess is famous for but these fierce anthems have a lot more depth than most of the music that tops the dance charts. “Never Giving Up” is a powerful call to arms in the wake of last year’s No vote. “The Loneliest I Ever Was” is such a poignant look back at the wrong relationship. Hindsight is always 20/20, but it’s rarely brought to life in such technicolour detail. Those high-energy numbers are perfectly balanced with gentle ballads. The past also inspires “Whitney,” a gorgeous song which recalls the power of the musical icons who lifted her up through hard times. “I’m Sorry” is such a beautiful love song which acknowledges that a good relationship isn’t always easy. This is really Jess’ album, with Jess’ stories, but there’s a little space for some choice collaborations. “Give You Love”, featuring fellow Voice judge Jason Derulo, is undoubtedly catchy, but it’s not as moving as “Little Too Late,” featuring Miiesha. The chemistry of these two powerhouse First Nations women is off the charts. There are so many brilliant moments on this album though, it almost feels unfair to single any of them out.

Jess Mauboy has an incredible voice, but plenty of people have incredible voices. What sets her apart is the way that she can share her stories through incredibly crafted songs. That’s what makes Yours Forever a great album, one that has encouraged me to keep listening.

Jess wraps up a string of instores today before embarking on her Yours Forever national tour next month. Limited tickets are still available, but I wouldn’t wait too long before securing yours. Once everyone hears this album, they’ll want them too!

14 February 2024 – Westfield Fountain Gate instore, Boonwurrung Country/Narre Warren (SOLD OUT)
12 March 2024 – Gippsland Performing Arts Centre, Gunai Country/Traralgon (SOLD OUT)
13 March 2024 – West Gippsland Arts Centre, Darug Country/Warragul (SOLD OUT)
15 March 2024 – Costa Hall, Djilang/Geelong
16 March 2024 – Palais Theatre, Euro Yuroke/St Kilda
17 March 2024 – Ulumbarra Theatre, Dja Dja Wurrung and the Taungurung Country/Bendigo
21 March 2024 – West Tamworth League Club, Kamilaroi Country/West Tamworth
22 March 2024 – Newcastle Civic Theatre, Mulubinba/Newcastle
23 March 2024 – Enmore Theatre, Eora/Sydney (SOLD OUT)
5 April 2024 – Townsville Civic Theatre, Gurrumbilbarra/Townsville
6 April 2024 – MECC, Yuwibara Country/Mackay
7 April 2024 – Pilbeam Theatre, Darumbal Country/Rockhampton
9 April 2024 – Moncrieff Entertainment Centre, Kabi Kabi Country/Bundaberg (SOLD OUT)
11 April 2024 – Empire Theatre, Jagera, Giabal, and Jarowair Country/Toowoomba
12 April 2024 – HOTA Theatre, Yugambeh Country/Gold Coast
13 April 2024 – Fortitude Music Hall, Meeanjin/Brisbane (SOLD OUT)
18 April 2024 – Crown Theatre, Boorloo/Perth
20 April 2024 – Darwin Entertainment Centre, Garramilla/Darwin
24 April 2024 – Adelaide Entertainment Centre Theatre, Tarntanya/Adelaide
26 April 2024 – Princess Theatre, Kanamaluka Country/Launceston (SOLD OUT)
27 April 2024 – Wrest Point Entertainment Centre, Nipaluna/Hobart
2 May 2024 – Albury Entertainment Centre, Bungambrawatha/Albury (SOLD OUT)
3 May 2024 – Canberra Theatre, Ngambri/Canberra
4 May 2024 – Shoalhaven Entertainment Centre, Wandi-Wandandian Country/Nowra (SOLD OUT)

Images used with permission from Warner Music Australia

Posted on by Lauren Katulka

“RECKLESS” – Arig

Arig is one of those special talents that refuses to be pigeonholed. She showcases the full breadth of her artistry with the release of RECKLESS today, the long-awaited follow-up to her 2018 debut EP, Attrition.

I loved Attrition, an EP which explored Arig’s feelings about growing up with her mum in government housing in Australia after the pair fled conflict-ridden Eritrea, so I was keen to wrap my ears around this release. So I was a bit taken aback by the opening tracks, “His Nation” and “Pop Off”. They’re real party jams, with unashamedly swaggy lyrics, a real departure from the introspective music on the first EP.

But by the third track, “Lambos in Logan”, I was warming to this reinvented Arig. With its deep bass groove and confident lyrics, it makes a strong statement that Arig is a real force. “Intoxicated” is a more stripped back, like an old-school slow jam. Arig picks up the tempo again for “Goodness Gracious,” an infectious R’n’B bop with some powerful lyrics about loving someone who’s hurt you deeply.

While I appreciated Arig’s evolution, in my opinion she saves the best for last. From the moment you hear the opening acoustic notes of “Freedom.” A beautifully simple folk song, it’s simultaneously emotionally vulnerable and strong. This is such an intimate recording, one that lets you hear every movement of the guitarist’s hands and every break in Arig’s voice. I was determined to write a review of this EP based on the strength of this song alone. It’s that good.

While Arig played with genres with her first release, she seems even more determined to take risks here. A self-described “messy chameleon,” it’s hard to believe that the artist who bared her soul in “Freedom” is the same one fronting in “His Nation.” Some songs I fell for instantly while others took me a little longer, but I appreciate that she’s showing us all sides of herself and taking risks. It’s so diverse that you might not love the entire RECKLESS EP, but you certainly won’t forget it.

RECKLESS is out now. Arig’s got EP launch dates in the works, but until then people in her new hometown of Eora/Sydney can see her play an intimate free show at The Dock on February 18.

Main photo credit: James Kenny

Posted on by Lauren Katulka

Kate Miller-Heidke @ Avoca Beach Theatre, Darkinjung Country/Avoca Beach – 6 February 2024

Avoca Beach Theatre has a way of encouraging me to see those Australian artists I’ve always intended to see. Who can resist when these talents play in such a charming, intimate venue so close to home in front of such respectful, enthusiastic audiences? A night at Avoca Beach Theatre is always a real treat. So much so that I’m almost loathe to tell you, because I don’t want it to get so popular that I can no longer get tickets! It’s the risk I take though; it’s such a special place. And it was the perfect place to see Kate Miller-Heidke on her Catching Diamonds tour.

While I was looking forward to Kate’s set, I was honestly less enthusiastic about seeing Georgia Mooney’s support slot. I’d loved her work in All Our Exes Live in Texas, but her solo album wasn’t for me. The vocals were pretty, but the music just didn’t quite grab me. In the live arena though, I was captivated. Her voice is so unique and special. She’s such a giving performer, keen to share a joke and the stories behind her music. The songs were a little more stripped back than on the recording, with just Georgia and her guitarist Marcus Hamblett bringing them to life. Honestly, I think they were better for it. I also think getting to experience the songs like this, with no other distractions, was key. Georgia’s music doesn’t make the best workday soundtrack. Her songs are slow burners, with a beauty that you might miss if you’re not paying attention. I’ll have to revisit them.

Kate also stripped things back, playing the show with her husband Keir Nuttall on acoustic guitar rather than a big band. Honestly, I’m glad this was the way I got to experience my first full-length Kate Miller-Heidke show. Minimal instrumentation ensured those once-in-a-lifetime vocals could really shine. It was also a joy watching Kate watching her husband. She beamed with admiration as he relished his guitar solos, and I smiled right along with her.

The set was a beautiful celebration of all that is Kate, from her breakthrough single “Words” to music from her forthcoming album. There were songs from her latest musical theatre effort Bananaland, the stunning version of “Paint it Black” that kick=started her Masked Singer journey, and even a delightfully operatic take on Talking Heads’ “Psycho Killer” to close the show. There were too many highlights to mention, but one of the most special was when she brought 13-year-old local talent Erin up to sing “Caught in the Crowd”. This beautiful song had extra gravitas coming from the mouth of a teen still in high school and likely caught up in the kind of politics the song references. And what a brilliant singer Erin is! I didn’t have half the courage she did at her age. Watching Kate’s face full of admiration as she graciously took backing vocals was really something special. But honestly, the whole show was.

The Catching Diamonds tour has only just kicked off, so most of the country still has the opportunity to see one of these magical shows. Many dates have sold out though, so get tickets anywhere you can.

7 February 2024 – The Art House Wyong, Darkinjung Country/Wyong
9 February 2024 – The Pavillion Performing Arts Centre, Dharawal Country/Sutherland (SOLD OUT)
10 February 2024 – Blue Mountains Theatre, Oryang-Ora Country/Springwood (SOLD OUT)
11 February 2024 – Glen Street Theatre, Gadigal Land/Belrose (SOLD OUT)
13 February 2024 – Goulburn Performing Arts Centre, Gundungurra Country/Goulburn
14 February 2024 – Tallagandra Winery, Candariro/Gundaroo
29 February 2024 – Mandurah Performing Arts Centre, Mandjoogoordap/Mandurah
1 March 2024 – Margaret River HEART, Wooditup/Margaret River
8 March 2024 – Ipswich Civic Centre, Tulmur/Ipswich
9 March 2024 – Logan Entertainment Centre, Yugambeh Country/Logan
10 & 11 March 2024 – Port Fairy Folk Festival, Dhauwurd Wurrung Country/Port Fairy
13 March 2024 – Star Court Theatre, Tchukarmboli/Lismore (SOLD OUT)
26 April 2024 – Manning Entertainment Centre, Biripi Country/Taree
27 April 2024 – Long Point Vineyard, Guruk/Port Macquarie
28 April 2024 – Jetty Memorial Theatre, Gumbaynggirr Country/Coffs Harbour (SOLD OUT)
2 May 2024 – Queenscliff Town Hall, Wadawurrung Country/Queenscliff
3 May 2024 – Queenscliff Town Hall, Wadawurrung Country/Queenscliff (SOLD OUT)
10 May 2024 – Bunjil Place, Boonwurrung Country/Narre Warren
11 May 2024 – The Round, Wurundjeri Country/Nunawading
25 May 2024 – Riverside Theatre, Burramatugal Country/Parramatta
26 May 2024 – The Joan, Mulgoa Country/Penrith
30 August 2024 – Karralyka Theatre, Wurundjeri Country/Ringwood
31 August 2024 – Wendouree Centre, Ballaarat/Ballarat
1 September 2024 – Theatre Royal, Dja Dja Wurrung Country/Castlemaine (SOLD OUT)
7 September 2024 – Caloundra Events Centre, Kabi Kabi and Jinibara Country/Caloundra
11 September 2024 – The J Theatre, Noothera/Noosa
14 September 2024 – Wangaratta Performing Arts Centre, Bpangerang Country/Wangaratta
20 September 2024 – Frankston Performing Arts Centre, Kulin Country/Frankston
21 September 2024 – Burrinja Theatre, Wurundjeri and Bunurrong Country/Upwey
27 September 2024 – Albury Entertainment Centre, Bungambrawatha/Albury
28 September 2024 – Griffith Regional Theatre, Wiradjuri Country/Griffith
11 October 2024 – Geelong Arts Centre, Djilang/Geelong

Image source: own photos

Posted on by Lauren Katulka

“Inside Voices” – Tig

Tig captured my heart back in October when she released her single “Too Late Heartbreak.” The EP it came from has been a long time coming, but finally she’s released her debut EP Inside Voices. If you’re wondering whether it’s been worth the wait, you only need to press play. I know that it won’t take too long before like me, you’re answering a resounding yes.

Tig is one of those special artists who can capture her innermost thoughts, then turn them into songs we can all relate to. Her voice is rich and warm, with the kind of tone that draws you in and makes you feel at peace. That voice coupled with her love of the piano had me thinking of some of my favourite artists of the past; women like Tori Amos, Sarah McLachlan, and Fiona Apple who made such strong impressions with their musicality and messages.

This four-track EP left me wanting more, but also being thrilled by everything it is. Four total standouts. Four songs that matter, each one so exquisite that it seems unfair to single any out. I just want you to listen to them. Remember too, this is Tig’s debut EP. She also recorded it at home rather than heading to a big fancy studio. Let all that sink in. What you are hearing is raw, organic talent. And it’s fabulous.

Tig will officially launch Inside Voices at the Evelyn Hotel in Ngár-go/Fitzroy on February 23.

Main photo credit: Britt Murphy

Posted on by Lauren Katulka

Noah Kahan @ Hordern Pavilion, Eora/Sydney – 23 January 2024

Sometimes less than perfect conditions can give you the perfect night. There was a lot that I wasn’t looking forward to last night. A trip to Sydney, always such an inconvenience, especially midweek. And we were going to the Hordern, far from the my favourite venue (I much prefer places where I can reserve a seat). But I put all that aside, because I was going to see Noah Kahan, my favourite musical discovery of 2023. And sometimes, that’s enough.

Dylan Gossett, a Texan singer-songwriter with a country twang and endearing demeanour warmed up the crowd. I must admit, I checked him out on Spotify earlier in the week and wasn’t impressed. His songs were OK, but they felt a little samey to me. But on the stage, they came alive. His voice was stronger than the recordings suggested, and he was super sweet. While I appreciated what Dyland brought to his set, I was just as thrilled by the way the crowd lapped up his music. It’s one of the great things about seeing a show with the right young audience. Yes, I’ve been at shows where the millennials seemed more interested in their phones and their conversations than the artists, but when young people are invested in a gig they lap it up. They never treat a performer as “just a support act”; they appreciate what they bring to the show and will clap enthusiastically and wave those phones with their lights on in delight. Seeing how they supported Dylan, I knew I was in for a good night.

I knew I was in for a good night, but I didn’t know just how good. But as Noah took to the stage and started playing “Northern Attitude”, one of my favourite songs from Stick Season, everything just seemed right with the world. I sang along with enthusiasm, those lyrics that had come to mean so much to me over the last year. The set leant heavily on that breakthrough album. I’m not sure how that sat with the original fans, but as someone who fell so deeply for that record I was thrilled to hear almost every one of its songs.

He chatted easily with the crowd, cracking jokes that had us all giggling. He even invited a fan up to sing to “Everywhere, Everything” with him. Tyler – wherever you are – you did an amazing job. “Your Needs, My Needs”, was a real highlight. I’ll forever remember his performance of that song as one of the best I’ve ever seen live. Ever. Chills. It takes a special performer to deliver heavy songs like that and then feelgood moments like “All My Love” and “Dial Drunk.” It also takes a special artist to get people to connect so deeply with their lyrics, even when they don’t necessarily reflect their own experiences. I marvelled at that as Noah sang his final song, “Homesick,” and we were all belting out the line in the chorus, “I’m me because I grew up in New England.” I’d wager most of us didn’t grow up in New England, yet we all felt that lyric in some deep part of ourselves.

It’s a sort of magic when an artist can put their very specific experiences into songs, then come to the other side of the world and connect in such a powerful way with the people there. I loved being a part of it. Even at the Hordern. Even in the middle of the week. Some shows transcend those little inconveniences. This was one of those shows. Noah plays Eora/Sydney again tonight before heading to Boorloo/Perth. All tickets were snapped up months ago, but if you’re lucky enough to have one you’re in for a real treat.

Image source: own photos

Posted on by Lauren Katulka

Rocky Horror Show 50th Anniversary @ Civic Theatre, Mulubinba/Newcastle – 13 January 2024

I first saw the Rocky Horror Picture Show when I was around 7 or 8. It was love at first viewing. I bought the soundtrack on cassette and spent hours in my bedroom looking up the lyrics that I didn’t understand in my dictionary (what an education!). I’ve seen the stage show a few times over the years, but when I heard Jason Donovan was starring in the latest iteration, I knew I had to do the Time Warp again.

The 50th Anniversary production of Rocky Horror Show only opened in the Civic Theatre on Friday, but it’s already become the venue’s highest selling musical, beating the record set by Come From Away last year. Given all the antici … pation, I expected to see more than the lone guy in fishnets wandering the foyer. Maybe the 2 pm session coincided with the usual nap times of the audience in attendance, but they didn’t seem as enthusiastic as I imagined they would be so early in the season. There were only a handful of people who got up to dance the Time Warp at the end! I really hope the night time shows are a little livelier. The performers gave it their all, and they deserve an audience that’s not quite so flat.

Sleepy crowds aside, there was a lot to like about the show. The cast embraced their roles, giving themselves over to the campy silliness of it all. Stella Perry, who came to fame in The Voice, brought more of a rock edge to Magenta than previous actresses, and I appreciated that. I also thought Henry Rollo, who plays Riff Raff, showed incredible vocal chops. Brad has always faded into the background for me, but Blake Bowden brought him out of the shadows. Myf Warhurst seemed a little out of her element as the narrator, but she bantered well with the audience. I suspect if I saw her later in the season she’d shine a lot brighter. The ultimate praise must go to Jason Donovan as Frank-N-Furter though. He first played Frank in the UK in 1998, and he makes slipping back into the role look easy. Clearly he was influenced by Tim Curry, but he does just enough to make it his own. He’s fabulous naughty and natural and he gave us a masterclass on Saturday. Honestly, watching him on stage was worth the price of admission alone.

Rocky Horror is one of those shows that keeps coming back every few years. If you’re a fan, and perhaps even if you’re not, you’ll have likely seen several productions. I know I have. But this might just the best. If you’ve been on the fence, make sure you snap up your tickets. The 50th Anniversary production of Rocky Horror Show plays the Civic Theatre in Mulubinba/Newcastle until February 4. It then heads to the Athenaeum Theatre in Naarm/Melbourne from February 9 to March 17 before heading back to New South Wales for shows at the Theatre Royal in Eora/Sydney from March 31 to April 28.

Posted on by Lauren Katulka

“Roller Coaster” – Checkerboard Lounge

The year might be winding down, but I’m sneaking in one last album review. I couldn’t let 2023 close without encouraging you to listen to Roller Coaster, the fabulous new album from Naarm/Melbourne blues icons Checkerboard Lounge.

The moment I heard the opening notes of the title track, I was hooked. It’s such a rollicking good time, and it made me hungry for more. My appetite was well and truly satisfied as Checkerboard Lounge delivered all the twists and turns you might expect from an album named after an amusement park staple. The band refuses to stay in the same place too long, treating listeners to soulful ballads, psychedelic rock, instrumentals, and a splash of jazz. Their originals already sound like classics. When you make such fantastic new music, a cover has to be pretty outstanding to make an album. But their take on Nina Simone’s “I Wish I Knew How It Would Feel to Be Free” is inspired. Dedicated to the plight of Australia’s First Nations people, it’s a poignant reminder of how far we still have to come as a nation.

Roller Coaster is the first Checkerboard Lounge featuring the band’s latest addition, bassist Zoe Frater. She’s used to great effect. I’m not sure when I last heard a bass solo: this album has four. All the musicians are stellar; the more I listened to this album the more I appreciated their contributions. On the first listen it’s easy to get sucked in by Carl Pannuzzo’s outstanding vocals, because they’re just so good, but everyone plays their part here.

As with so many acts that make music outside the mainstream genres, Checkerboard Lounge are revered in the blues scene but largely unknown outside of it. That’s a great shame, because they’re brilliant. With the release of Roller Coaster, it’s the perfect time to get on board.

Roller Coaster is out now. Checkered Lounge are already starting to full up their concert calendar for next year. See them anywhere you can.

20 January 2024 – Blues Rendezvous @ George Lane, Euroe Yroke/St Kilda
3 February 2024 – Brunswick Ballroom, Bulleke-bek/Brunswick (album launch)
24 February 2024 – Archie’s Creek Hotel, Gunai Country/Archie’s Creek
13 April 2024 – Cullulleraine Music Festival @ Johansen Memorial Reserve, Lajti Lajti Country/Mildura
16-19 May 2024 – Blues on Broadbeach, Yugambeh Country/Gold Coast
7 June 2024 – The Jazzlab, Bulleke-bek/Brunswick
14 June 2024 – The Jazzlab, Bulleke-bek/Brunswick
21 June 2024 – The Jazzlab, Bulleke-bek/Brunswick
25-28 July 2024 – Echuca-Moama Winter Blues Festival , Yorta Yorta Country/Echuca
1st and 2nd week November 2024 – Blues at Bridgewater, WA

Image used with permission from Dave Laing Publicity

Posted on by Lauren Katulka

“The World Has Gone Mad” – SonOfHarry

If you think you know the extent of Harry Cleverdon’s talents, think again. He’s best known for releasing sweet, chilled out numbers that dance around the folk, pop, and country genres. They win me over time and time again, but if I could make any criticism, they’re pretty safe. So I was excited to discover a new side of Harry’s talent through his new project SonOfHarry. He’s just released his debut album The World Has Gone Mad under the moniker, and it’s the furthest thing from safe that you can imagine.

At a time when so many artists seem to be focused on creating singles, it’s refreshing to see Harry bring us a concept album here. It’s clear he’s spent some time listening to Pink Floyd in his youth. Their influence comes through in the sonic soundscapes he creates, the brief musical interludes and snippets of audio recordings that support the longer works like “Alien” and “Can Not Be This Way.” These tracks could stand alone, but they’re so much richer for their place here. Then there are the tracks like “Paradise Pt 1” and “Paradise Pt 2,” and the title track broken into three parts and woven through the EP, longer works that explore themes and musical motifs in more depth.

The World Has Gone Mad really shows a different side of Harry’s talent. It’s edgier, more experimental, and bolder. He plays with genres we haven’t seen before like blues, rock, and jazz. The lyrics are edgier than we’ve heard from Harry too. I’m not just talking about the occasional explicit lyric, although I can’t imagine those making the cuts Harry’s released before. But these songs also contain some really thought-provoking and potentially polarising social commentary.

If you’ve only heard and loved the music Harry’s released as Harry Cleverdon, it might take you a little while to embrace SonOfHarry. But give it that time. The World Has Gone Mad is very different from Harry Cleverdon’s usual material, but it’s also very good.

Images used with permission from Kick Push PR