Tag: Sydney

Posted on by Lauren Katulka

Jagged Little Pill @ Theatre Royal, Eora/Sydney – 30 July 2021

Jagged Little Pill may be the greatest musical most people won’t see. The pandemic cut its original Broadway run heartbreakingly short. While it returned to New York’s Broadhurst Theatre, it closed soon after as America’s COVID-19 numbers picked up again. Here in Australia, the return season in Eora/Sydney is also being cut short as increasing case numbers become a concern. I feel pretty lucky I snuck in before the company pulls the plug. I bought tickets for the original run but transferred them when my husband ended up in hospital. Had I chosen a later date, it might not have happened.

It’s heartbreaking that we don’t all get more time with this musical, because it is so special. Featuring the songs of Alanis Morisette, you might be forgiven for thinking it’s just another jukebox musical. However, this piece is so much more. The songs are used so cleverly as a launchpad for a series of stories that are so relevant for the modern age. Through the Healy family and those close to them, the musical explores prescription drug addiction, sexual violence, sexuality, societal pressure, trauma, and healing. It’s heavy material and difficult to watch at times, but Diablo Cody’s witty book and the joyous energy of the cast balance it beautifully.

Speaking of the cast, I’m not sure I’ve ever seen such a solid group of performers. I admit, I was pretty skeptical when I heard Natalie Bassingthwaite had landed the plum role of MJ Healy. I’d seen her in theatrical productions before, but her roles in Rent and Footloose were nowhere as meaty as this one or as challenging vocally. But I can freely admit I was wrong. She was an absolute revelation. I didn’t know she had this performance in her. MJ is such a complex character, but she really rose to the occasion. I was also particularly impressed with the young actors. Emily Nkomo brought such a light and passion to Frankie. Bella is relatively small but pivotal, and Grace Miell was sensational in the role. A character like Nick could easily become wooden, but I thought Liam Head was excellent. People have raved about Maggie McKenna’s performance as Jo, but on the Saturday matinee Mo Lovegrove stepped into the role. Honestly, I think we lucked out. What an incredible talent they are. “You Oughta Know” and “Your House” are some of Alanis’ most challenging songs to nail in my opinion. Few can convey their messy emotions the way that Alanis can, but I was captivated by Mo’s take on these songs, not to mention their more subtle moments. The ensemble were also such incredible dancers and singers. There were no weak links. Just incredible.

Honestly, I haven’t stopped thinking about Jagged Little Pill since I left the theatre on Saturday. It’s truly special. You’ve got two weeks before it closes. The producers say they’re committed to bringing this story back to Australian stages in the future, but in these uncertain times, there’s no telling when that will be if it happens at all. So see it while you can. There are limited tickets for performances at the Theatre Royal to August 14.

Posted on by Lauren Katulka

LANY @ Hordern Pavilion, Sydney – 25 May 2022

Midweek gigs are tough! You get to a certain age and it takes a lot to get you out in your local area, let alone make the trip from the Central Coast to Sydney for a show. But LANY put on one of the greatest live shows I’ve ever witnessed. I might be hurting now, but I was not going to miss it. So back to the Hordern I trudged, ready to back up the weekend’s Dermot Kennedy gig.

Adelaide act Bjéar were a late addition to the line-up after the original support act Sasha Alex Sloan couldn’t make the trip. The enthusiastic crowd didn’t mind the last-minute change one bit. The applause when they took the stage was so rapturous my husband asked me whether the crowd knew this wasn’t the main act. I can’t say, but I can say the young crowd ate up what they did. Meanwhile, I sat there feeling every one of my 42 years. There were moments I enjoyed, especially when the bassist took the mic and we discovered she has the most gorgeous voice. Overall though, the ambling songs and overuse of the vocoder left me feeling a bit disconnected. But as I say, the majority of the young crowd loved it, so maybe there’s something there I’m missing.

While Bjéar weren’t my cup of tea, LANY were all that and more. Near the top of the show, frontman Paul Klein told us we were going to have the best night of our lives. It’s an audacious claim, but I’m not sure he was wrong. I can’t honestly remember a time when I had more fun. Paul has such relentless energy. He’s a born performer, on the whole time whether he’s dancing about or jumping on platforms during upbeat numbers or taking us on a more emotional journey with a tender ballad. As an audience member, it’s infectious. It might have been late on a school night, but we were all partying along with him.

In the three years since LANY last played here, they’ve released two albums. I wondered whether old favourites might be sacrificed for new material, but this set was perfect. I’m not sure I’ve ever seen a band get the balance so right. New favourites like “never mind, let’s break up”, “ex i never had”, and “cowboy in LA” took their place against classics like “Thick and Thin” and “Super Far”. I was thrilled to hear so many songs from Malibu Nights, the album that turned me onto the band, make the set. And then there were the deep cuts! After a band releases four albums, you don’t expect to hear early EP tracks like “pink skies” make the set. What a treat!

Speaking of fans, what a joy they are. I must admit, it’s still a little weird to go to concerts where most members of the audience are less than half your age. But after being annoyed by the incessant chatter at the Dermot Kennedy show, I appreciated these fans even more. They were so respectful of the artists, not just the headliner but the support act too. They were properly in it, singing along to every lyric, holding their phones aloft like cigarette lighters, soaking up every moment. No wonder by the end of the show Paul told us that we were the best audience of the Australian tour. He might say that in every city, but we’ll take it. He also assured us they’ll be back next year, the year after that, and every year for the rest of their lives. If they do, so will I. Because nothing is more fun than a LANY show.

LANY will play Margaret Court Arena in Melbourne tomorrow night and Fortitude Music Hall in Brisbane on Sunday night before they head to New Zealand. If you’re on the fence about a weeknight gig, just buy the tickets. Life is too short to miss shows this good.

Image source: own photos

Posted on by Lauren Katulka

Hamilton @ Lyric Theatre, Sydney – 10 April 2021

Like so many Australians I spent my 2020 birthday in total lockdown. The cruise I’d booked was cancelled. My best friend who insisted she’d be happy to sit in my place and drink wine couldn’t cross the border. For the first time ever there was no special meal out, just me and my husband. It was sucky, like so much of 2020, but one of the things that made the year brighter was the release of Hamilton on Disney+. As I watched and rewatched, unpacking and analysing it as I hadn’t done with a piece of work since high school English, it became my favourite musical. So when I heard it would make its Australian debut around my 2021 birthday, I knew how I wanted to celebrate my latest turn around the sun.

I wondered though, could the Australian production of Hamilton possibly meet my lofty expectations? I’d fallen in love with the Broadway cast, many of whom took home Tonys for their performances. Matching them was always going to be a tall order, but we should be proud of our talent here at home. Many of the Hamilton principals aren’t well-known … yet. But I believe this cast has many stars of the future. Lin-Manuel Miranda created Hamilton, so while his singing voice was never the strongest I couldn’t imagine anyone else understanding the role of Alexander in quite the same way. But Jason Arrow stepped into those massive shoes as if they were tailormade for him. Chloe Zuel was the perfect Eliza and Lyndon Watts a nuanced Aaron Burr. Matu Ngaropo brought the right amount of gravitas to George Washington and while I love Daveed Diggs, I think Victory Ndukwe did an even better job of separating the personalities of Lafayette and Thomas Jefferson.

If like me you were wondering whether the local cast could possibly keep pace with the rapid-fire rhymes, don’t stress. They’ve got this. Add in those incredible songs, beautiful costumes and staging, and you’ve got all the ingredients for a memorable time at the theatre.

If you’ve seen the Disney+ pro shot, you may wonder whether you need to see Hamilton in person. There’s an electricity about being in “the room where it happens” though. While I fell in love with Hamilton on my couch, I wouldn’t have given up the experience of witnessing it in person for the world. While I appreciate the way that the cameras guided my gaze at home, being able to take in the whole stage at any time and catch the movements that might have been off-frame made me fall in love with this musical even more. Nothing could replace the feeling of sitting with a crowd of theatregoers (100% capacity now, if you please), then standing with them to deliver the standing ovation this production so richly deserved.

As I glanced down my row, I was pleased to see my whole family joining me in that standing O. Even my father who was dreading the performance because he hates “rap crap.” There may be no higher praise than that. Hamilton is at Sydney’s Lyric Theatre until November 14. Tickets are on sale now from Ticketmaster.

Posted on by Lauren Katulka

Help Save Crowbar

It’s no secret that Australia’s coolest music venues have taken a hit in the last year. With governments taking their time to open venues and ease capacity restrictions (and actually follow through on their promises and help out in any meaningful way), some of your favourite haunts are struggling to keep their doors open. Crowbar in Sydney is one of the venues doing it tough, but the owners have come up with an ingenious solution to keep the doors open. They’ve launched a crowdfunder campaign, and you could score some pretty sweet swag for getting involved. Below is a statement from the Crowbar team:

“Crowbar Sydney needs your help! After 12 months of lockdowns and restrictions, Crowbar needs to call on its community of supporters for help to survive. Live music venues around the country are closing down or just holding on by a thread. We are all battling negotiations with landlords, restrictions and reduced income, facing the end of JobKeeper and struggling to pay ongoing fixed costs and debt that keeps piling up. As one of the first industries to close and the last to open, we’ve been hoping that State and Federal Governments might come to our aid, but we’re no longer in a position to patiently wait. And so, we need your help. Without it, we face making the gut-wrenching decision of having to stop the music and close our doors permanently. We’re asking our friends, our fans, our families, and everyone we know to help keep Crowbar alive by donating to our CrowFunder campaign.

In March 2020 COVID-19 restrictions forced us to close our doors and stand down staff while we cancelled months of shows and events. We spoke to our landlords regarding rent and came to some arrangements, and are continuing to negotiate with them. We managed to trade at 1-3% of regular turnover with takeaway sales for the next few months until we were able to open the bar again for a much smaller crowd in mid-June. We were eventually able to put on shows again in late August, returning to 20-30% of trade, dropping from 28,441 ticketed attendees in 2019 to just 8,336 in 2020. With restrictions slowly easing we are now returning to 30-40% of trade.

We have spoken with Ministers, Parliament, MusicNSW, the Australian Hotels Association, APRA and media. We have completed surveys and submitted our gravely reduced figures for turnover and attendance. We have carried on as best we can, working within government restrictions and operating at severely reduced capacities. We have taken loans to keep our staff paid and our doors open, in the hope that the NSW government would step up to help live music venues with something more to survive and put towards operational and fixed business costs like rent, insurance and utilities – something like the Victorian Live Music Venues Program. The grants we have been eligible for, like Live Music Australia, can only be used towards artist fees and venue improvements, which is helpful, but leaves us in a tenuous position with our operational costs when artists and venue capacities are controlled by restrictions and border closures.

Crowbar is an independent, family-operated business, built on 9 years of blood, sweat and tears, and 20 years experience in the music industry. Supporting live music in Australia and nurturing our once-thriving music scene has stood at the forefront of everything we do, and despite this massive hurdle of COVID-19 recovery, we aren’t ready to end the good fight just yet. We are overwhelmed by the tremendous support from our friends, bands and industry colleagues who have donated some amazing prizes and rewards for this crowdfunding campaign.

If we are successful in reaching our target we have a strong hope of recovering through this pandemic to continue putting on the best shows, parties and good times.”

Make a donation for a merchandise reward via Pozible or take part in the online auction for your chance to score some money-can’t-buy goodies including:

  • Lindsay McDougall’s first Frenzal Rhomb guitar
  • Test pressings from Cooking Vinyl for The Bronx, Luca Brasi, The Chats, Modern Baseball, Ceres and heaps more thanks to Cooking Vinyl Australia
  • A limited Mindsnare ‘The Death’ skateboard and ’Credulity’ test pressing
  • A signed Simple Plan drum skin from Oztix
  • A stage backdrop and test pressing from The Amity Affliction
  • Crowbar Brisbane’s infamous inverted neon cross
  • A keg party at your house thanks to Pabst Blue Ribbon
  • A MEGA merch pack from 24Hundred and Unified

Other rewards include gold records, limited edition skateboards, drum and guitar lessons from some of your favourite bands and stacks of signed memorabilia. New items will be added each week, so keep checking in.

If you want to do even more to help out, check out Blackcraft Cult’s collaboration benefit range. These T-shirts and hoodies will be great conversation starters for raising awareness of Crowbar’s plight.

Crowbar wants to raise $200,000 in the next 30 days to keep the venue open. Click the links and get involved!

Images used with permission from Deathproof PR

Posted on by Lauren Katulka

Agnes Manners’ New Single “Sydney” Packs a Punch

Agnes Manners, the new solo project from former Hellions guitarist Matthew Gravolin, shows that quality trumps quantity with his powerful new single “Sydney.” Featuring Trophy Eyes vocalist John Floreani, the song clocks in at just under two minutes. But two minutes is all it takes to grab you and strike a powerful emotional connection.

If you’re familiar with Hellions, you probably don’t expect the gentle flutes, strings, and piano, or the admission that these instruments were deliberately chosen to create the feel of a Disney tune. But that’s perhaps not the most surprising instrument you’ll hear.

“During that recording trip, I ambled down to a beach after a long night at the bar to try and get a voice recording of sea sounds to put in one of the songs. I had too much to drink and I ended up vomiting on the beach – I forgot that the voice memo was still recording all the while. I revisited the recording the next day and salvaged the sound of me being sick over the sounds of waves. After some cutting, the result can be heard at the end of ‘Sydney,’” Matthew admitted.

“Although admittedly a bit uncouth, I feel that it suits the lyrical content of the song. It’s about a particularly excessive time in my life before I made the move from Sydney to Melbourne. Paranoia and shame are the operant themes, written from a perspective that felt very real and frightening at the time.”

That unconventional approach really pays off here. This is one of those tracks I had to listen to a couple of times in a row because I wanted to make sure I caught it all. Even then I missed the vomit! Who knows what’s in store when Agnes Manners’ debut album Fantasia Famish drops on September 18.

Image used with permission from Habit Music

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: own photos

Posted on by Lauren Katulka

Fire Fight Australia @ ANZ Stadium, Sydney – 16 February 2020

As I write, bushfires continue burning in Victoria and southern New South Wales. At least 28 people have died, around 3,000 homes have been lost, around 18 million acres have burned, and countless animals have died or been severely burned. The statistics could make you despair, but that’s not what Aussies are about. We’re the kind of people who see a problem and take matters into our own hands. We band together and do what we can to make things better. That’s why 75,000 Aussies from across the country and I headed to Sydney’s ANZ Stadium yesterday. Oh, and there might have been the added incentive of one of the best concerts the country has ever seen: Fire Fight Australia.

I firstly want to give a shout-out to TEG Dainty for putting together such a stellar line-up. It was a show that offered something for everybody with acts that crossed generations and genres. I like to think everyone discovered a new act or enjoyed a performance they didn’t expect to. For me, those unexpected moments of enjoyment came watching Baker Boy, Hilltop Hoods, and Peking Duk. I won’t say that I didn’t enjoy their music but I certainly wouldn’t have categorised myself as a fan. However, it was impossible not to get swept up in the energy of what these acts do. They were so much fun, I can understand why the younger punters on the dancefloor were anticipating their sets. Brilliant stuff with a few special guests including Montaigne and Ecca Vandal thrown in the mix.




There were also several acts whose music I’ve enjoyed but had never seen live before. Illy’s set was pure joy while Amy Shark’s had so much heart. I loved the energy of 5 Seconds of Summer. I’m not sure I’ve ever seen a drummer give as much as Ashton Irwin to a performance! Delta Goodrem had me squealing with her nostalgic set. Her medley of hits was a wonderful way to get around the standard four-song set! Guy Sebastian and Jess Mauboy have such incredible voices in the flesh.


Then there were the artists we expected goosebumps from. If these legendary performers felt the weight of expectation, they didn’t show it. Alice Cooper gave an absolute rock masterclass. What a showman he is. I first saw him with the Ultimate Rock Symphony tour around 20 years ago and he has lost nothing since then. Queen might not be the same band they were when they played their original Live Aid set, but Adam Lambert was there to silence any naysayers who insist he’d not Freddie Mercury. Of course he’s not, but he doesn’t try to be. I’ve been a fan since his American Idol days, and I think he’s such a worthy successor. What a voice, what charisma.


I initially questioned the decision to put k.d. lang on after the Hilltop Hoods but when she stepped on stage after the names of people we lost in the bushfires were beamed onto the giant screens it made total sense. She was like an angel dressed in white, with her haunting voice delivering such perfect song choices: “The Valley” and “Hallelujah” from Hymns of the 49th Parallel. This quiet, reflective moment near the end of the party reminded us all of the reason we were there. However, we couldn’t stay somber for long, with Icehouse, John Farnham, and Olivia Newtown-John rounding out proceedings. They performed songs that are such an important part of the fabric of this country, the kind of songs that bring the voices of generations together. The feeling of singing songs like “Great Southern Land” and “You’re The Voice” with 75,000 Aussies was something I’ll never forget.

Full credit to the organisers of Fire Fight Australia, the artists who so generously gave their time, and of course the firefighters and first responders who we celebrated at this show. The event raised closed to $10 million to help bushfire recovery, relief, and rehabilitation efforts and gave all of us who were a part of it memories to last a lifetime. If you want to help boost the fundraising efforts, you can still buy event T-shirts at Cotton On stores and online.

Image source: own photos

Posted on by Lauren Katulka

Rob Thomas – Sydney and Hunter Valley, 13 and 16 November 2019

Live music always makes my heart beat faster. However, there is one artist on the planet that takes my excitement to the next level: Rob Thomas. Whether he’s fronting Matchbox Twenty or playing solo, he is the performer who has the largest piece of my heart. His Chip Tooth Tour was a long time coming, nearly four years since his last Australian dates, so by the time last week rolled around I was more than ready.

One Rob Thomas show isn’t enough for me. I considered writing two reviews, one for Sydney and another for the Hunter Valley, but frankly the week passed in a whirlwind and now here I am, basking in the afterglow. Sydney was the perfect warm-up. First State Super Theatre strikes the right balance; it’s small enough to feel intimate but not so tiny that it can’t attract big acts for their only gigs in the NSW capital. The Hunter Valley show was part of the Day on the Green series. These events always seem so leisurely and relaxed, with so many good vibes. Sorry Sydney, but it also seemed to have the best crowd. Maybe I was just unlucky with seating in Sydney, but it was so nice to travel up the freeway to be amongst fans who seemed to care more about the music than making trips to the bar!

I’m glad that Daryl Braithwaite was the support act we doubled up on. I’ve made mention in the past of his voice fading, but I think he was in the best form I’ve seen in a while. You can still hear the limitations at time, but it’s a minor quibble from an artist who delivers so much. His set was packed with his Sherbet and solo hits, although an unexpected cover of The Kinks’ “All Day and All Of The Night” was a welcome addition in Sydney. What a shame the Hunter Valley security decided to try to make everyone sit down just before “The Horses.” Thank you, Daryl, for insisting it wouldn’t hurt us to rise to our feet for a couple of minutes! Staying seated for this unofficial anthem just wouldn’t have felt right!

The Hunter Valley’s extended line-up saw Russell Morris and Pete Murray joining us. I raved about Russell when I saw him at the same venue a couple of years ago and he was every bit as appealing this time around. His voice shows no sign of fatigue, impressive at the age of 71. He has so many hits to his name and they came thick and fast, rewarding those of us who arrived early enough to catch his set. He really deserved better than so many vacant seats. He was excellent.

I wish I could get as excited about Pete Murray, but for not the first time I just wasn’t feeling it. Ordinarily I can’t get enough of good-looking men who play guitars, but his songs never seem to get out of second gear for me. He performs them well, sounding virtually identical to the way he does in the studio, but I just can’t muster any kind of enthusiasm for them. Putting Pete after Daryl Braithwaite, who had me and so many of the folks around me, so fired up also seemed a bit cruel.

Whether I couldn’t wait for the support act to vacate the stage (sorry Pete) or I embraced their set (love your work Dazza!), I was primed for Rob Thomas. Opening with a new album track like “I Love It” was a risky move, but it was really the perfect introduction to Rob’s set; upbeat, engaging, and sexy as hell. It might have been called the Chip Tooth Tour, but Rob knows how to strike the right balance for serious fans and casual listeners. I would have liked to hear more from the new album, Chip Tooth Smile, but the four or five songs he played from it made space in the set for more songs from the back catalogue. The solo hits and Matchbox cuts came thick and fast, along with a smattering of lesser known songs for the diehards like me. I was thrilled to hear “Sunday Morning New York Blue,” an EP track, and fan favourite “Pieces” make the cut in the Hunter, while “Heaven Help Me” was an unexpected delight in Sydney. “Fire on the Mountain isn’t one of my favourite album tracks, but it really gets a new power on the stage. Adding Indigenous dancers to the mix in Sydney brought some extra gravitas.

Speaking of surprises, they don’t get much bigger than Andrew Farriss from INXS gracing the stage for a cover of “Never Tear Us Apart” in the Hunter. The chemistry between the longtime friends and the quality of this Aussie classic made it a real moment to remember. If you can’t get Santana out here for “Smooth,” then 10-year-old guitar prodigy Taj Farrant makes an impressive substitute.


It seems to me like Rob is aging in reverse. I think it’s the only reasonable explanation for his boundless energy. He put on a rock star performance, without the bells and whistles of so many modern rock shows. Without projections or pyrotechnics, the focus was squarely on the music and the way Rob delivered it. Most of his band has been with him since his first solo tour, and it shows. However, as much as I appreciate the big full-band numbers, it was the quieter, more reflective times in the set that really got me. I don’t mind saying that I found myself wiping away tears in acoustic performances of “Ever the Same” in Sydney and “Bent” in the Hunter. With an acoustic guitar and Rob’s voice, supported by a choir of enthusiastic fans, those songs were as raw as the emotions they stirred in me.

When you anticipate a tour as much as I did this one, it can sometimes be hard for the performer to meet your expectation. But I know Rob never lets me down. Like a fine wine, he only seems to get better with age. The dust may still be settling on my recent shows, but I’m already hanging out for the next tour. Rob Thomas plays Margaret Court Arena in Melbourne tonight before concluding the Chip Tooth Tour at Perth’s Kings Park on November 23.

Image source: own photos

Posted on by Lauren Katulka

One Electric Day @ Cockatoo Island, Sydney – 9 November 2019

After six successful Victorian events, One Electric Day decided to share the love and go national. Sydney responded, snapping up so many tickets organisers moved the show to the picturesque Cockatoo Island. While arriving for that early morning ferry meant this Central Coast girl set off around 8am, the beautiful trip down the harbour helped me get into the spirit. What a magic spot Cockatoo Island is. It didn’t hurt that we were blessed with the kind of weather I rarely experience during outdoor concerts, with beautiful blue skies and mild temperatures. Absolutely perfect.

After playing MC, Taylor Sheridan strapped on his acoustic guitar for the first set of the day. I’ve seen talented singer-songwriter play at several Red Hot Summer shows and he always impresses. He played some stellar originals and just enough covers to keep the punters on side, although that was a real challenge when his set was broken into two parts. I’m not sure who thought it would be a good idea for him to play two sets, but as his second act wore on I could sense most of us were ready for the bigger names. It’s a shame, because he really is a talent.

No doubt some of my restlessness can be attributed to my excitement about seeing Southern Sons. I was just 14 when the Melbourne outfit disbanded, too young to go to the shows. Hearing they would play together again was all the incentive I needed to snap up tickets. After waiting a quarter of a century for this set, you can bet my expectations were high. Southern Sons did not let me down though. I knew Jack Jones was still in fine form, after catching him solo a few months back, but the chemistry he has with his band mates really elevated this set to the next level. What a treat to hear not just the singles but album cuts as well. Watching the gratitude on Jack’s face as he led us in a singalong of “Hold Me in Your Arms” was a highlight amongst a really special set. Can I put in an early request for a tour? The Southern Sons story doesn’t feel done.

Vanessa Amorosi also took me back to my youth, opening up with an abridged version of “Absolutely Everybody” before bringing us all the attitude of “Have a Look.” She doesn’t look or move like she’s aged a day. I marvelled at the way she could jump down off the speakers, mix with the crowd, then jump back up to continue her set. I tried to get up on my kitchen bench to clean my aircon recently and failed miserably. But I digress. Needless to say, Vanessa puts us all to shame. She might look like she’s still in her teens and she certainly doesn’t mind bringing us the hits, but her set wasn’t just about that early nostalgia. As I watched her perform, I realised just how many smashing singles she’s had over the years. She introduced us to a handful of new tracks from her recently released album Back to Love as well, proving that her best music may be yet to come.

I’ve got to admit, by the time Jon Stevens was ready to grace the stage, I felt spent. The early morning and time on my feet caught up with me and I retired to my chair. I might have left the party early though, because Jon Stevens’ set was the highlight for many. Delivering Noiseworks and INXS hits was always going to go down a treat with this crowd, who were soon spilling out over the standing room zone. He’s such a rock star too, with all the moves to keep an audience in the palm of his hand. A surprise appearance from former bandmate Steve Balbi was the icing on the top of a tasty musical cake.

Every time I see James Reyne perform I remember just how much I love him. His songs are absolutely flawless. He’s a really cool dude that does his thing with such professionalism and heart, without any real fuss or fanfare. He always treats us to a greatest hits set, yet it never feels forced or formulaic. It’s easy to forget he’s sung these songs countless times because he puts so much of himself in them. And what songs they are too. “Reckless,” “Errol,” “Hammerhead,” “Beautiful People,” “Slave,” I could go on. Every one an absolute winner.

Speaking of greatest hits, John Farnham closed the show the only way he can. With those songs and that voice that are exactly what people come to see. The love for one of Australia’s most iconic singers is palpable, and he gives it right back to the audience. The hits come thick and fast, keeping the energy at 11. He doesn’t even seem to mind playing “Sadie” these days. Personally I’d love to see him shake up the sets because after a few shows in recent years I’m starting to anticipate what he’ll do when and how. Still, predictability isn’t the worst thing in the world when what you do gets so much love. Nothing beats that singalong to “You’re The Voice” either!

Shuffling back onto the ferries to start the long journey back to the coast I felt exhausted; I’d been on the go for more than 14 hours at that point and knew I was still around three from getting to my front door. However, I also felt buoyed by the local talents I’d witnessed that day. I might have been there for one of the earliest bands, but there were no weak links. You’re coming back next year One Electric Day, right?

Image source: own photos

Posted on by Lauren Katulka

David Campbell @ State Theatre, 4 October 2019

In the early 2010s, I’d see David Campbell several times a year. He’d regularly pack out RSLs on the back of his swinging cover albums, and I’d come back for more every tour. Then he got those pesky gigs on morning TV and radio and shows became few and far between. Looking back through my records, I hadn’t seen David perform since he was part of George Michael Praying for Time in 2017. My drought between solo shows stretched back to 2012. So, when he announced a limited number of shows supporting his Back in the Swing album, I snapped up tickets.

Things have certainly changed since the time I started seeing DC. He’s got little ones, and talk of them and his wife tends to dominate between-song banter. He’s so much busier. He sells out theatres now, and I can’t imagine him going back to an RSL any time soon. But in some ways, nothing has changed at all. I appreciate his steady gigs, but on stage is where he feels most at home. He’s mesmerising to watch, such a giving performer who always seems so in the moment.

This show really felt like a catch-up. If you hadn’t seen Dream Lover, or like me you just wanted to relive his starring turn in that musical, there was an extended section of Bobby Darin tunes. Ordinarily playing several songs from a new album is a risk, but when you’re returning to swing standards, arguably David’s most popular covers, it just makes sense. I loved hearing those new songs from his latest record: “Buona Sera,” “Make Love,” and “New York State of Mind” were highlights. Although I couldn’t help but feel a wee bit disappointed that Ian Moss didn’t surprise us and duet on my favourite song from the album, “In the Wee Small Hours of the Morning.” And you know DC can’t ever play a show without giving us a little Johnny O’Keefe.

But it was the songs that I didn’t expect to hear, that I was truly surprised by, that made the biggest impression on me. After seeing an artist so many times you assume everything but the new album tracks will feel familiar, but DC likes to throw in a few curveballs. I’d heard him play a few Louis Prima tracks in the past, but an extended passage of songs from my husband’s favourite swing artist had us in raptures. I was right there with David, wiping away a few tears when he sang Charles Aznavour’s “She” for his daughter Betty.

Watching David Campbell live again reminded me why I didn’t let a tour go by back in the day. I understand he’s a busy man these days, but I really hope he finds more time to get back on stage. It’s where he shines brightest.