Tag: Sydney

Posted on by Lauren Katulka

Boyz II Men & TLC @ The Star, Sydney – 31 January 2018

It seems to be the time for nostalgia tours. I’m personally relishing the chance to see so many of my favourite acts of the ‘90s doing their thing. Hot on the heels of Alanis Morissette’s outstanding show, I found myself heading to Sydney once again to catch Boyz II Men and TLC, or at least what remained of these ‘90s acts, at The Star.

Yo! Mafia seemed a strange choice for an opener on paper. I couldn’t imagine a DJ would be the right choice for a concert with allocated seating. So much so that I regretfully didn’t rush my dinner to see the start of her act. But she’s some DJ. Supreme transitions and such cleverness in weaving together the ‘90s music and TV show snippets we all loved. The big screen added some visual appeal to her set which proved to be just the right entrée for our night.

Boyz II Men and TLC were such acclaimed ‘90s acts that they shared headlining rights on this bill, switching up the order each night to keep us guessing. The lads from Philly were on first, much to the excitement of my Philadelphia-born and raised husband. These guys were heroes for him growing up, and it’s been a while since I saw him so animated at a show. They’re a three-piece now, but aside from missing those iconic sexy speaking parts in a few songs they’ve really lost nothing. Except, as Wanye joked, his hair. But their boy band moves are right on point, and those voices utterly sublime. Individually, Wanye, Nate, and Shawn have some of the best soul voices in the business. Put them together though, and those harmonies are off the charts.

Watching their set, I was reminded just how dominant Boyz II Men were in the ‘90s. We sang along with hit after hit, although none garnered the rapturous reactions of “I’ll Make Love To You” and “End of the Road.” There were a few surprises too, from the rare inclusion of one of my favourites, “Doin’ Just Fine” to a string of notable covers. I never imagined we’d see Shawn and Nate playing guitars, or that I’d hear the vocal trio busting out tracks like “Are You Gonna Go My Way” and “Come Together.” Moments like these are why live gigs are so exciting. Speaking of covers, I was a little disappointed to hear nothing from Boyz II Men’s latest album Under the Streetlight, the 2017 release which sees them paying tribute to early soul music. However, it’s hard to find too much fault in a set with so much heart.

Boyz II Men were the drawcard on the bill for me, so in a way it was a little bit of an anticlimax to see them first. But TLC certainly gave us a spectacular, with dancers and projections on the big screen. The remaining members, T-Boz and Chili, are also still at the top of their game. While their vocals have never been as stratospheric as Boyz II Men’s, they sounded tight. They’re also still a creative force; recent releases “Way Back” and “Haters” went down just as easily as any of the earlier material the crowd lapped up. I was moved to my feet along with everyone else when they busted out big guns like “Waterfalls” and “No Scrubs.” I might not have been in raptures over TLC, the way I was with Boyz II Men, but they certainly impressed me.

The ‘90s might be long gone, but it’s exciting that through gigs like this we can all go back for just a little while.

Boyz II Men and TLC play Rochford Wines in the Yarra Valley tonight.

Image source: own photos

Posted on by Lauren Katulka

Alanis Morissette @ ICC Theatre, Sydney – 24 January 2018

A couple of weeks have passed now and I’ve actually caught a couple of shows since, but I’m still feeling buoyed by the buzz that comes when you see one of those once-in-a-lifetime gigs. You know the ones, where you have such a heightened sense of anticipation, yet somehow the artist matches it and gives you everything you could have dreamed of. That’s how I feel about Alanis Morissette’s show at Sydney’s ICC Theatre last month.

Alanis is one of those special musicians I thought I’d never see. I was a teenager when she broke onto the music scene and her angsty, powerful songs struck such a chord with my moody self. I soaked up every album, coming to see her as a kind of wise sister who could help support me through all of those angsty things teens go through. I remember when she toured. I was making just a little bit of money working in retail and I wasn’t allowed to make the journey from Newcastle to Sydney anyway, so I had to let it go. Then she went off and got married and had babies, and I resigned myself to this feeling that I’d missed the boat.

I see so many concerts that most times I don’t get the butterflies. But they were certainly fluttering as I made my way to Sydney for this gig. While I was excited to see Alanis, I was also thrilled to catch Angie McMahon, who wowed me with her song “Slow Mover” a few months back. What a talent she is. The conditions were less than ideal, with people streaming into the venue and chattering amongst themselves. It’s hard to win people over with just an acoustic guitar and original songs. But I loved tuning in to her music. She’s a real talent.

While people chattered through Angie’s set, you could feel the reverence when Alanis took the stage. The applause was rapturous, quickly giving way to a hush. Every one of us just wanted to hang onto her every lyric, a task made so much easier with a stripped back acoustic set. Recognising she hasn’t seen us in an awfully long time, Alanis set about giving us a set that celebrated her career. Hit after hit came, all the songs we wanted to sing along to. For me the highlights came when she performed songs I didn’t quite expect like “Wake Up” and “Mary Jane.” Watching her perform “Everything,” a song that perhaps sums up myself and my relationship with my husband better than any other, saw me wiping back tears.

Alanis has such a beautiful aura about her. She’s gracious and humble, at ease with the crowd, incredibly funny and sweet, and so willing to share herself with her audience. Simply being in her presence for the night was so special.

It’s impossible for a performer as iconic as Alanis to do everything you want to hear. We all have songs that are special to us, the hidden tracks and album songs that never charted that we hold close to our heart. Some might say her set was safe, and in some ways perhaps it was, but I can’t fault Alanis for sticking to the songs we bought in droves. It’s the best way to make sure people go away happy. I for one left ICC Theatre grinning from ear to ear, content that this bucket list gig was everything I hoped for.

Image source: own photos

Posted on by Lauren Katulka

Kinky Boots @ Capitol Theatre, Sydney – 15 July 2017

With just a few weeks left of its Sydney run, I finally caught Kinky Boots at the Capitol Theatre recently. This was one of those musicals I knew I had to see. It ticked so many boxes for me. It was based on a movie that thoroughly charmed me. Cyndi Lauper, one of my greatest musical idols, wrote the songs. Harvey Feirstein, another one of the world’s special talents, wrote the book. It promised glitter, sequins, and pizzazz. Tick, tick, and tick. My expectations were high, yet this very special production exceeded it.

If you’ve seen the movie, you’re already familiar with the story. Boy grows up around his father’s shoe factory, but wants to carve out his own destiny rather than living his dad’s life. Father dies. The boy, now a man, is torn between his desire to find his own path and his wish to save his father’s legacy. He discovers he can do both when he breaks with tradition and turns his father’s factory into the most fabulous production facility for drag queen boots. Throw in a love triangle and a touching friendship between two very different principle leads and you get the idea.

The story of Kinky Boots is a simple one, but it’s one with real heart. Cyndi Lauper builds on the tale beautifully with one of the best original music soundtracks I’ve heard in some time. Needless to say, I bought the CD before I left the theatre. The building blocks are there, but the Australian production has helped this music live up to its potential. Toby Francis’ Charlie is sweet yet complex. Sophie Wright as Lauren is endearing and so relatable. Teagan Wouters’ Nicola is frustratingly self-absorbed, but she plays the piece’s villain well. But it is Callum Francis as Lola who fittingly steals the show. He understudied the role in London but he’s now relishing the spotlight. Every time he was on the stage, I couldn’t take my eyes off him. What a talent he is.

If like me you’ve procrastinated about getting your tickets, do not delay. Kinky Boots is a special musical. The songs are first rate, the actors incredible, and the story one that nourishes your soul. Don’t miss it. It closes in Sydney in August, when it hits the Brisbane’s Lyric Theatre.

Posted on by Lauren Katulka

Gavin DeGraw @ The Metro Theatre, Sydney – 4 July 2017

No much had really changed when I walked into the Metro on Tuesday night to catch Gavin DeGraw. This was the same venue I’d seen him play 13 years ago. I was with the very same friend. But then so much had changed. I’m married now, and I’m not even sure if I was dating my husband back then. Gavin’s released many more albums; back then he only had Chariot under his belt. I’m also at the point where the prospect of standing crammed up against the stage in the middle of a crowd doesn’t sound appealing. Hell, standing for a couple of hours for a show is no longer my idea of fun. I’m sure many of us there so many years ago agree, so the decision to come back to the Metro was a curious one. Still, there was a certain sense of symmetry about the evening. This time around my friend Jaime and I high-tailed it up the steps. We hoped to find a space in the comfy couches the Metro has up there, but of course when you wander in after a leisurely dinner that’s Mission Impossible. Nevertheless, we found a nice standing spot by the bar with a great view of the stage, so we were as happy as we could be at a standing gig.

Jack R Reilly warmed up the crowds. I wasn’t familiar with his work, but I instantly warmed to his folky guitar tunes. I’m not sure he was the best fit for the show. He’s the kind of performer who writes songs that are really best appreciated when you can mull over every lyric. They’re low key and lovely, but quite different to the accessible piano pop Gavin writes. I enjoyed him, but also found that in such a large venue, so far from the stage, my attention started to wander. I have appreciated getting to know about his music online though.

As someone who lost track of Gavin’s music, I wondered whether I’d get as much as much out of this concert as the last, which was based around his breakthrough album Chariot. He opened with the title track from that release, letting us know that nostalgia would still play a part in tonight’s proceedings. I was pleasantly surprised at the number of songs featured from that first release. While I loved singing along to them, the unfamiliar tracks never dragged for me. In fact, I was reminded what an excellent songwriter and showman he is. Without my own voice singing along, I could focus on how on point Gavin’s vocals are. He spent most of the night at the piano, but got up every now and again to touch the hands of adoring fans near the front and get that much closer to us all. He seemed to really feed off the energy of this Sydney crowd who clearly missed him in his absence.

There were so many highlights of the night. “Something Worth Saving,” a stunning song from the latest album which reminded me that I really need to explore his back catalogue. “Belief,” a fan request that he didn’t play at the Brisbane show the night before, was so emotional. The big hits “Not Over You” and “I Don’t Wanna Be” lifted the crowd’s excitement to another level.

It’s difficult to compare concerts spaced 13 years apart, but as I filed out of the Metro I wondered whether Gavin might have been even better this time around. I only hope it doesn’t take another 13 years to lure him back to Australia. And that next time, he remembers we’re all getting older and chooses a seated venue.

Image source: own photos

Posted on by Lauren Katulka

I Love the ’90s @ Qudos Bank Arena, Sydney – 9 June 2017

If I had to pick a least favourite venue in my state, it’d probably be Qudos Bank Arena. It’s so big and impersonal and an absolute pain to get to. It takes so long to get there that I always have to skip the nice meal that I usually enjoy before seeing a show and settle for something unhealthy, overpriced, and unsatisfying at the venue. It takes a lot for me to motivate myself to see someone perform there, but the lure of some of the biggest names in ‘90s music proved too strong. And so I found myself in this most hated venue, predictably running late with greasy hot chips, on Friday night.

These nostalgia shows are always an interesting experience. You settle yourself in to see a bunch of acts you’d never see if they were headlining. But put them all together and you know if nothing else, you’re bound to have a good time singing along with the songs you remember from your youth. And if one act is terrible, well you know they’ll be off the stage soon enough, replaced by someone else you might like better.

Young MC kicked off proceedings, he of “Bust a Move” fame. I didn’t expect a lot from Young MC, to be honest, but he proved a real surprise package. He’s put on more than a few kgs since the 90s, but he still performs with great enthusiasm. He’s clearly loved his time in Australia; his Blues State of Origin jersey and his unexpected cover of “Beds are Burning” showed the affection he has for the country. “Bust a Move” got us all grooving, just as we knew it would. His rapid-fire rapping at the end was a parting reminder that Young MC has more talent than the average one-hit wonder.

Tone Loc couldn’t quite live up to his superlative introduction in my eyes. The big hits like “Wild Thing” and “Funky Cold Medina” were good fun, but Young MC had set such a high bar. Tone was certainly solid, and the moment when he brought some hot young things on stage to dance along with him a real highlight. Maybe I was just feeling a lull as I waited for Color Me Badd to take the stage.

Color Me Badd were one of my favourite “boy bands” of the 90s. The songs, the moves, the harmonies … well, they’ve got two out of three of them now. When I saw the set times earlier in the week, I was gutted that Color Me Badd got just 15 minutes on stage. However, even that dragged for me. This was a set that left me with so many questions. When did they shrink from a five-piece to a three-piece? Where did my favourite, Sam Watters, go? Did they really think no one would notice if they switched out one black guy with another? When did Bryan Abrams balloon and then decide he wasn’t going to do the choreography any more? Honestly, it was all a bit painful. Bryan wandered around aimlessly, singing just always slightly out of the pocket, while the other guys from the band danced around him. They delivered the big three songs – “I Wanna Sex You Up,” “All 4 Love,” and “I Adore Mi Amore” – but as a fan from way back when, I wish they’d given us “Choose” instead of “Blame it on the Boogie.” When you feel you have to rely on covers to fill a 15-minute slot, it’s a bit sad.

Coolio brought things back on track. I was never a massive fan back in the day, but he totally charmed me. He was such a giving performer, left of center but entertaining from start to finish. “C U When U Get There,” which he dedicated to the memory of so many figures we’ve lost like Prince, Muhammad Ali, Aliyah, and Whitney Houston, was so special. “Gangsta’s Paradise” had us all in raptures. I rose to my feet to applaud him off, so impressed was I with his set.

Salt-N-Pepa were another big drawcard for me and, unlike Color Me Badd, they delivered. Those women have lost nothing over the years. They sound phenomenal, they look the business, and they know just how to move. They also still travel with such good looking backing dancers. Their abs, my god. Thanks for that ladies! As a woman growing up at a certain time, Salt N Pepa have a huge part of my heart. They taught me a different way that women could be, so confident and unapologetic. Finally seeing them live, and seeing them still at the top of their game, it really made the night for me.

I had long questioned the decision for Vanilla Ice to headline, and I did so again after Salt-N-Pepa performed so phenomenally. What on earth could he do that would top them? Would this show limp home? I’m going to say the show limped home, because I was sort of entertained, but in that sort of car crash way. He spent the first few “songs” freestyling about being in Sydney, teasing us with references to the Teenage Mutant Ninja Turtles and Ice Ice Baby. A good rapper can freestyle and have you in the palm of their hand. But Vanilla Ice, well, it just sort of felt like he was filling up a set. I won’t say I wasn’t bemused by his talk of what he got up to in the 90s, including some R. Kelly inspired sexual encounters. But then there were weird trance-dance passages that just felt like noise. I considered leaving, but I don’t think you can skip out on Vanilla Ice without hearing “Ice Ice Baby.” It was far from a perfect rendition. His voice was never strong, but it’s gotten much rougher over the years, and that detracted. But you’d be lying if you said you don’t enjoy that song. That big single should have been his swan song, but he continued on afterwards. Needless to say, I didn’t stick around to find out how long. It’s a long way back from Homebush to the Central Coast, and I’d seen what I came to see.

I Love the ‘90s wasn’t the perfect show. In fact, some acts were dreadful. But there was also some great talent too. The crowd was also awesome, singing along enthusiastically to the nostalgic tracks the DJ served up while the sets changed. What a fun night. Can we make this an annual thing?

Posted on by Lauren Katulka

Drum and Percussion Show Hits Sydney Next Month

Drum and percussion enthusiasts, this one is for you. The Sydney Drum and Percussion Show rolls into town next month, and you won’t want to miss it.

The live performance program is particularly impressive, with Thomas Lang (George Michael, Tina Turner), Virgil Donati (Steve Vai, Tommy Emmanuel), and Michael Schack (Netsky) all on the bill. Lang and Donati also promise to play together for the first time ever.

It’s also the perfect place to buy, with a range of vendors selling drum kits, cymbals, traditional, orchestral, hand, and electronic percussion instruments, and accessories, as well as plenty of items exclusive to the show. Attendees can also take part in drum circles and percussion workshops during the event. If you love drums, this is the place to be.

“There’s so much about percussion, it’s the world’s most accessible form of music – people take their first steps in music through percussion,” explained Australian Music Association CEO Rob Walker. “We are excited to showcase our industry’s products and the wealth of local talent that Sydney and Australia has to offer, as well as international guests – three of the best in the world! We seek to educate and entertain, and showcase and grow our drum and percussion community.”

The Sydney Drum and Percussion Show hits Rosehill Gardens Grand Pavilion on May 27 and 28. Tickets are on sale now from the event’s website.

Image used with permission from On the Map PR

Posted on by Lauren Katulka

Don Henley @ ICC Sydney Theatre, Sydney – 10 March 2017

With some time to myself today it seemed the perfect moment to actually sit down and write about the exceptional concert I saw in Sydney last Friday night. No, not Adele. You wouldn’t know it judging by all the media hype, but Sydney actually welcomed two more international stars that night: Jewel and Don Henley.

As a woman of a certain age, I was pretty excited about seeing folk songbird live. Sadly a dinner that ran overtime and some unexpectedly long lines outside the new ICC Sydney Theatre meant we were a little late, but what I caught was just what I’d hoped it would be. Just Jewel, who looks like she hasn’t aged a day since the ‘90s, her acoustic guitar, and that sublime voice of hers. I loved hearing hits from Pieces of You as stripped back as they were on that original album. “Foolish Games” had me welling up. I also developed a new appreciation for “Intuition,” a song I’d always hated because it seemed so overproduced. The acoustic mode really let its cutting lyrics shine. A special moment between Jewel and her young son, dueting on a song sung for generations in her family, tugged at the heart strings. She really made the most of her all-too-brief time on stage, sharing stories and songs with such warmth. There was even yodelling! I really hope to see her back in Australia soon, because she was superb.

After seeing The Eagles a couple of times before Glenn Frey’s untimely death, I wasn’t sure what to expect from Don’s solo show. I knew the songs would be good, but I wondered whether the Eagles’ tracks would seem a little lacking without the other Eagles voices in the mix. But Don knows what he’s doing. He assembled one of the tightest bands I’ve seen in some time, including three superb backup singers my husband recognised from The Voice US. He opened with a song from her latest album Cass County, “Seven Bridges Road,” a stripped back country number which really showcased the vocal talents of all on stage.

While this show was about touring Cass County, Don knows what fans want to hear. He promised us he’d do the occasional song for him, but plenty of songs for us, and he did. The set drew heavily from his days with The Eagles; wisely he stuck to those tracks where he originally sang lead vocals, ensuring they sounded just right to our ears. I was especially thrilled to hear “The Last Resort,” a song that Don admitted he hadn’t played for decades before embarking on these solo shows. Tracks from the ‘80s were also celebrated. Despite their advancing years they sounded so fresh, especially “The End of the Innocence” with its lyrics so resonant in the time of Trump. There were surprises too; I’m not sure anyone expected Don Henley to launch into “Everybody Wants to Rule the World.”

It took until the second encore for Don to address the elephant in the room and chat about Glenn Frey, his longtime collaborator who we so sadly lost last year. He told us how he missed him before launching into two of the songs they penned together: “Wasted Time” and “Desperado.” Such painful songs made more poignant under the circumstances. We took a moment, remembered, and then danced. It’s what Glenn would have wanted I think. “All She Wants to Do is Dance” was the perfect closer for Don Henley’s show, a performance that was about nostalgia but also celebrating an artist that continues to be at the top of his game.

Posted on by Lauren Katulka

Mystery Mark Will Get Sydney Dancing

Dance music fans are in for a treat this November when the Mystery Mark festival makes its debut in Sydney.

Joel Fletcher, Yolanda Be Cool, Bombs Away, Uberjak’d, SCNDL, and Brooke Evers are among the big names scheduled to take the stage.

Mystery Mark hits the Sydney Showground on November 19. It’s a 15+ event, but there’ll be licensed facilities for the adults in the crowds. VIP and early bird tickets are available now from the Mystery Mark website.

Image used with permission from Paris is Patient

Posted on by Lauren Katulka

Megan Hilty @ Theatre Royal, Sydney – 10 June 2016

I can scarcely believe a couple of weeks have gone by since I caught Megan Hilty’s performance at the Theatre Royal, but it was a performance so strong that my memory has barely faded.

The press releases surrounding her maiden Australian tour promised a journey through the Great American Songbook, but her set featured much more than standards. She opened with “Keep Moving the Line,” from the TV series Smash, the first thing that brought her to my attention. As an ardent fan of the series, I was thrilled to hear more of its songs peppering the set, such as “Mr. And Mrs. Smith,” “Let Me Be Your Star,” and the breathtaking “Second Hand White Baby Grand.”

Most of Megan’s career has seen her on the stage rather than the small screen, so it was only fitting that her Broadway turns were acknowledged too with “Popular” from Wicked, “Backwoods Barbie” from 9 to 5, and “Suddenly, Seymour” from the role that got away in Little Shop of Horrors. Stories like the incidences surrounding the part endeared Megan to the already enamored crowd. She spoke in glowing terms of meeting Dolly Parton when cast in her musical and working alongside Idina Menzel and Katherine McPhee and regaled us of personal stories of life with her daughter and husband, the very dishy Brian Gallagher who plays guitar in her exceptional band.

There were the promised standards like “Almost Like Being in Love,” “That’s Life,” and “Diamonds Are a Girl’s Best Friend,” a lovely nod to her time channelling Marilyn as Ivy Lynn in Smash. Don Henley’s “Heart of the Matter” didn’t quite seem to gel with the jazz and show tunes, but it’s such a great song I didn’t really mind. Closing with “Rainbow Connection,” a song she plays nightly for her daughter, left us all feeling warm and fuzzy inside.

No matter what Megan treated us to, it was exquisite. She has such a stunning voice, and her Broadway training sees her connecting to the songs in a way few artists do when singing covers.

This was a fleeting visit for Megan, who had to catch a plane the next day to attend the Tony Awards. She assured us she loved our city and wants to come back for a longer stay. I hope she’s a woman of her word, because I think I speak on behalf of everyone at the Theatre Royal when I say we’d welcome her back with open arms.

The venue didn’t allow photography, so here’s a video so you can all see how amazing she is!

Posted on by Lauren Katulka

Rob Thomas @ State Theatre, Sydney – 26 February 2016

When I was in my late teens and early 20s, one Matchbox Twenty or Rob Thomas show was never enough. I’d see multiple gigs, never wanting the tour to be over. They were so much fun, but the sets rarely changed from night to night. I’d get excited about the odd cover that was different and insist that was worth the price of admission alone.

So when I bought tickets for Rob Thomas’ State Theatre show, despite having plans to catch him at the Opera House Forecourt, I expected a similar scenario. What I got was two completely shows this tour, both wonderful in their own way. After the party atmosphere of the Opera House show, it was wonderful to have a quieter night and enjoy the intimate and personal vibe of the State Theatre show.

Rob downsized his band to a trio and delivered stripped back versions of songs, ensuring their lyrics came to the fore. It was so exciting to hear a new complexion to upbeat tracks I’d heard a couple of nights before like “This Is How a Heart Breaks” and “Lonely No More.” I also loved the chance to hear the songs that didn’t make Wednesday night’s performance. “Heaven Help Me” from The Great Unknown probably would have been lost in the electric set, but it was perfect for this more intimate evening. “Sunday Morning, New York Blue,” a track lifted not from an album but the Someday EP, was another welcome new addition.

But for a girl whose love for Rob’s music began with Matchbox Twenty, the number of tracks that came from his band was really exciting. Ordinarily Rob plays just a couple of Matchbox songs, preferring to stick to the solo material. However, the stars aligned on Friday night and we heard everything from hits like “Bright Lights,” “Disease,” and “Bent” to the moody “You Won’t Be Mine,” an album track from Mad Season.

Anyone who’s read this blog for a while knows I love an acoustic show. Jumping around and dancing to a band turned up to 11 is a blast, but it rarely moves me as much as sitting down listening to songs stripped back to their core. Add in personal stories about the origin of those songs and I’m sold. I’ve seen Rob Thomas perform many times, and I’m sure I’ll see him many more, but Friday night’s acoustic show is the one that will stand out from the rest. It was perfection.

Image source: own photos