Category: Reviews

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: Stephen Katulka

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

Posted on by Lauren Katulka

“AND ALL I LOVED, I LOVED ALONE” – Clinton Kane

Clinton Kane shows he’s one of the brightest stars on the scene with his powerful new EP, AND ALL I LOVED, I LOVED ALONE. Clinton wowed me with his track “PANIC ATTACK”, but I’ve fallen even more in love with his music after hearing this EP.

These five songs show Clinton’s talents as a songwriter, multi-instrumentalist, arranger, and co-producer, but most importantly they show his heart. From the gentle pop opener “DANCING ALL ALONE” to the pop-punk-influenced “MERRY GO ROUND” that closes this EP out, Clinton’s emotions sit close to the surface. His vocals are powerfully raw, his lyrics confrontingly honest, and it makes it such a special listen. And then there’s the sound, so sonically interesting and fresh. The press release says it features “glitchy beat-craft, electronic alchemy, alternative experimentation and unassuming pop ecstasy”; I’m not sure I could say it better. It’s creative and exciting and so incredibly addictive.

AND ALL I LOVED, I LOVED ALONE is out now. Trust me, you’ll want to listen to this one.

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

“23” – Archer

After wowing me with her single “Bittersweet” a few months ago, Archer has dropped her fabulous debut EP, 23. The five tracks encapsulate Archer’s experiences as a young woman navigating relationships and her journey to adulthood.

“The whole EP explores themes of nostalgia and reflection. I guess it was just a period of my life where I was feeling really reflective and it kind of came out in my music. It’s kind of like standing still and looking at the past and the future and recognising where you’ve come from and where you see yourself going,” Archer explained. “I’ve discussed 23 being a significant number. The name of the EP came from the fact that I was 18 when I first started releasing music and now I’m 23. Again it’s just me being nostalgic and thinking about all the time that has passed since dropping Malibu and all the things that have changed since being 18.”

This EP reminds us of the importance of quality over quantity. The five tracks clock in at just over 15 minutes. It’s short and, it’s got to be said, bittersweet. The first three songs are absolute bops, anchored by electronic beats and Archer’s confessional lyrics. I’m a long way from 23, but I really connected to her words. Just when you think you’ve got her pegged as an artist, she takes a left-turn with “Slowly,” a beautiful piano-based ballad that shows a much softer side. While the other tracks got me moving in my seat, this is the one that made me really sit up and take notice. The closing track “Overgrown” makes such a strong final statement. A genre-bending number with some of the EP’s most powerful lyrics (and that’s saying something), it leaves no doubt that Archer is a force to be reckoned with.

23 is out now.

Images used with permission from beehive

Posted on by Lauren Katulka

“Here They Come” – Eliza Hull

When you put your heart into music, when you lay your soul bare and let your listeners see all parts of yourself, I don’t think you can ever go wrong. That’s exactly what Eliza Hull has done with her new EP, Here They Come. You might remember me raving about the single “Running Underwater.” It set my expectations high, but the songs that support it on this five-track EP are every bit as strong.

It’s no coincidence that Eliza released Here They Come a few weeks ago on December 1, to coincide with International Day of People With Disability.

“I wanted to release the EP during the week of International Day of People With Disability because this record is about celebrating my disabled identity; it’s about all the parts of myself I hid away for so long because of stigma,” Eliza explained. “I also want to be the representation I was seeking as a disabled emerging musical artist.”

While these songs are bound to connect with listeners with disabilities who may have felt underrepresented or marginalised, I connected with this music on a purely human level. These are songs of struggle and strength, of acceptance and liberation. Eliza is a superb songwriter with an incredible voice, and that combination is showcased so powerfully here. She keeps the instrumentation simple, ensuring we can catch every important word she sings. Every song is a triumph, from the gentle piano ballad “Stay” to the epic slow burner, “Lilac Dreams.”

I’ve sat with this EP for a few days and I am falling more in love with every listen. It really is such a special release. I’ve been a fan of Eliza’s work for many years. It feels like everything she’s done before has been building towards this. Here They Come is out now. She’ll play the following shows next year to support its release.

20 January 2024 – Sydney Festival @ ACO Pier 2/3, Eora/Sydney
17 February 2024 – Town Folk Festival @ The Bridge Hotel, Dja Dja Wurrung Country/Castlemaine
23 February 2024 – Malthouse Theatre Outdoor Stage, Naarm/Melbourne
24 February 2024 – Cube Theatre, Wiradjuri Country/Wodonga
3 March 2024 – Mordi Festival @ Peter Scullin Reserve, Boonwurrung Country/Mordialloc

Main photo credit: Simon Browne

Posted on by Lauren Katulka

“Yasmin” – Malaika Mfalme

It’s been a long time since an album moved me like Yasmin. The debut from London-born, Tanzanian/Australian artist Malaika Mfalme, it’s a powerful collection of songs exploring love, loss, and healing.

Malaika said “I wrote Yasmin during a time of immense pain. While the world shut its doors and experienced the 2020 lockdowns, I was grieving my late partner. When I began writing it, I didn’t know it would turn into an album. It was my means of coping through writing about grief, loss, and then joy, healing and finally self-acceptance. Now I feel this album can help others move through that kind of pain, removing the taboo and shame Western society places on grief.”

I knew Yasmin was a special album from the moment I pressed play. Acknowledgements of country have become so commonplace that they can lose their meaning, so I was excited to hear Malaika’s take. Creating a beautiful soundscape for her heartfelt “Acknowledgement” helped it resonate and bridge the gap between the story of this land and Malaika’s own story. They explore their own connection to the land in “Mother,” a song which references the ultimate maternal figure, Mother Nature herself. In “Dream,” Malaika reflects on their first dream featuring their late partner. “Spirit” is quiet and beautifully vulnerable, a poignant moment birthed from the depths of sorrow.

“‘Spirit’ came from a deep time of grief, so I wanted to use repetition to create new meaning,” Malaika explained. “This repetition and call and response is significant in my African culture and in history, often using techniques like this to survive horror like slavery.”

“Imagine” and “Relief” are like companion pieces that lift the soul after the darkness. The first elevates the memories that bring comfort, the second is a powerful reminder of the importance of being loved and known, if only for a little while. “Good Man” sees Malaika, a trans/non-binary artist, reflecting on gender identity and the importance of manifesting it in the right way. ”Younger” completes another piece of the puzzle, like a musical letter to Malaika’s past self and the soul icons who helped them become the person they are today. It’s only fitting that the album’s final track is a tribute to Yasmin herself, the person who inspired this collection of music.

“Yasmin was an opera singer, and I was able to incorporate all of her friends in the song. All of us singing together was such an important healing process for all of us,” Malaika recalled. “The first verse is about the pain of her passing, the second is about letting her go, and the last is about remembering her.”

The first few times I listened to Yasmin I went in blind, with my ears and heart open. Without reading the press release, I could make my own meaning from these songs. I was instantly struck by their warmth and beauty. This album was inspired by darkness, but there’s light in even the most painful moments. Reading over Malaika’s notes has made me appreciate and love these songs even more than I thought was possible.

Yasmin is out now. Malaika will launch this exceptional album tomorrow night, December 14, at the Red Rattler Theatre in Eora/Marrickville. Tickets are available now from Humanitix.

Images used with permission from Good Intent

Posted on by Lauren Katulka

Dermot Kennedy @ Sydney Opera House Forecourt, Eora/Sydney – 7 December 2023

As an Aussie Dermot Kennedy fan, I’ve felt incredibly blessed by his time in our country. A few weeks ago, I got the opportunity to see him play at the Doss House, a venue so small he didn’t even need to use a microphone. After this acoustic teaser, I got to see him again last week in the Sydney Opera House forecourt. While the room he played in the Doss House would have been lucky to hold 50 people, the Opera House forecourt holds thousands. And he sold it out. Twice.

It’s a testament to the quality of Dermot’s music that it can work in any setting. In a place like the Doss House, you can reflect on those personal lyrics. At the Opera House forecourt, backed by a full band, his words become battle cries. They come from such a deep place, and I was thrilled to yell them out as Dermot encouraged us to sing louder. Dermot is a performer that sings from his gut. He leaves nothing on the stage, delivering passionate vocals that connect and resonate.

The night was a fitting farewell to the promotion for Dermot’s album Sonder. Songs from his sophomore LP book-ended the set. While “Blossom” ends the album, it was a fantastic opener. Those newer songs were balanced by the old favourites from Without Fear. The fans who’ve been there from the beginning were even treated to “Glory,” from his debut EP, Doves and Ravens.

While I hold my memories of the Doss House show so close, it was missing one major thing for me: my husband. It was so special to see this show with him, to sing along to songs like “Outnumbered” and “Homeward” as we held hands and thought about how far we’ve come. I also thought about how lucky we were to do this during “Better Days,” a lockdown anthem that has now become so life-affirming. Last time I saw Dermot was at an indoor venue, so I didn’t feel comfortable removing my mask. Sitting on the steps of the Opera House, enjoying this fabulous music, the pandemic was the last thing on my mind. Instead, I revelled in singing the song together, to paraphrase the lyrics.

After experiencing the intimacy of the Doss House, I marvelled at the numbers who’d gathered for this show. While I always prefer a small gig, there’s certainly something special about coming together with so many people who are passionate about an artist’s music. Hearing our voices, seeing the lights of our phones, watching us move together to the beats of these songs we all carry in our hearts, was special. Doing it at an iconic place like the Sydney Opera House was the icing on the cake of this fantastic tour. I’m sure I’m not the only one who’ll miss having Dermot in our country, but we take some comfort knowing that he had such a great time that he probably won’t stay away for too long.

Posted on by Lauren Katulka

Dermot Kennedy @ The Doss House, Talla-wo-la-dah/The Rocks – 17 November 2023

Ordinarily once an artist gets to the stage in their careers where they’re selling out the Opera House forecourt, you’ve missed the chance to catch them in an intimate venue. But Dermot Kennedy is no ordinary artist. He revels in playing in beautiful places, regularly announcing pop-up gigs that complement his paid shows around the world. Last night it was Sydney’s turn to witness one of these magical events when he played The Doss House in Talla-wo-la-dah/The Rocks.

I’m still pinching myself that I got the chance to see one of my favourite artists in such a special space. A beautiful sandstone building, you can feel the history seeping from the walls. To call it intimate is an understatement. We were told just 80 of us would get in, but once we were ushered through we discovered maybe about 40-50 of us would be in the same room as Dermot. The rest would have to be content in the courtyard, peeking through a window at the action inside. I have never been more excited to take my seat in the front row, maybe 30 centimetres away from the mic stand. What a stark difference from the last Dermot show I saw at the Hordern Pavilion!

Dermot was still five hours from gracing us with his presence at that point, but with wine and conversation flowing freely that time passed quickly. Soon enough we were told we could purchase one of the limited-edition Australian-exclusive copies of Dermot’s latest album Sonder and meet the man himself. He was as warm and sweet (and let’s face it, handsome) as I could have hoped for. And then we were settled in for our special acoustic performance.

And when I say acoustic, I mean acoustic. He did away with the mic stand, deciding it was unnecessary for a space like this. His guitar didn’t need plugging in either. This is as raw as music gets, and it was wonderful. You could have heard a pin drop as he launched into recently released single “Two Hearts.” I marvelled at how special it was to experience “For Island Fires and Family” like this, in such a quiet space. He always performs that song unaccompanied, but at the Hordern there was so much chatter impinging on the moment. But here, everyone was attentive, drinking in every word, every note. The more upbeat “Kiss Me” helped us find our voices. Or perhaps it was the trays of whiskey generously passed around. Either way, the singalong continued with “Outnumbered” before we ushered out into the night. While we were told entry would be first-come, first-served, Dermot wasn’t going to leave hundreds of people disappointed so he agreed to play another set for as many of those people who would fit inside. He’s just that kind of artist.

I feel so incredibly blessed that I got to see one of my favourite artists in such a beautiful space so up close and personal. And to share it with such wonderful people. Crowds that give their attention and respect to the artist are worth their weight in gold. Dermot has a few more pop-up shows before he kicks off his Australian tour. Like the show at The Doss House, I’m sure they’ll be incredible.

18 November 2023 – Music Farmers Record Store, Woolyungah/Wollongong (FREE)
18 November 2023 – La La La’s, Woolyungah/Wollongong (FREE)
19 November 2023 – The Royal, Bundi/Bondi Beach (FREE)
21 November 2023 – Jimmy O’Neill’s, Euro Yuroke/St Kilda (FREE)
22 November 2023 – Oh! Jean Records, Naarm/Melbourne (FREE)
22 November 2023 – Thornbury Picture House, Naarm/Melbourne (FREE)
24 November 2023 – Sidney Myer Music Bowl, Naarm/Melbourne
25 November 2023 – Spilt Milk Festival @ Exhibition Park, Ngunnawal/Canberra
26 November 2023 – Spilt Milk Festival @ Gold Coast Sports Precinct, Kombumerri/Gold Coast
2 December 2023 – Spilt Milk Festival @ Victoria Park, Wadawurrung/Ballarat
3 December 2023 – Spilt Milk Festival @ Claremont Showground, Boorloo/Perth
6 December 2023 – Opera House Forecourt, Eora/Sydney
7 December 2023 – Opera House Forecourt, Eora/Sydney (SOLD OUT)
8 December 2023 – Opera House Forecourt, Eora/Sydney (SOLD OUT)
10 December 2023 – Riverstage, Meeanjin/Brisbane

Image source: own photo