Tag: The Enmore

Posted on by Lauren Katulka

Mumford & Sons @ The Enmore, Sydney – 3 August 2010

I’m dragging my feet a bit today. That’s the problem with a midweek gig when you don’t live in the big smoke. Last night I was lured to the city by Mumford & Sons; I’m paying for my lack of sleep today, but goodness it was worth it.

Before I get on to the good bits, I just want to say a few words about the flaws of this mid-week concert experience. Two support acts playing relatively lengthy sets at a mid week gig really seems a bit excessive. While the ticket told us that the show started at 7:30 pm, the main act didn’t grace the stage until 9:45 pm. Sure we were entertained in the meantime, but the crowd was clearly restless before Mumford and Sons arrived. Perhaps they were thinking about being up early for work the next morning. Promoters need to realise that when a band is playing just two headline shows in the country, punters will travel. My sister and a friend came from Newcastle to attend, my husband and I from the Central Coast. I’m sure there were also fans from Wollongong, Canberra, and other far flung corners of the state. Like us, I’ll bet they sympathise with our arrival home at 2 am, my sister’s at 3. I’ll bet we’re all a bit weary today for the experience.

If I were planning the night, I’d have cut Matt Corby. I was really looking forward to his set, having been impressed by his originality on Australian Idol, but I struggled with his performance last night. He showed himself to be an excellent guitar player, with a beautiful voice. But his music also seemed quite aimless at times; filled with wailing and devoid of melodic hooks. His use of looping technology also left me a bit cold; I’ve seen artists like Howie Day use this equipment to dazzling effect and compared to that he was a rank amateur. He might be a good songwriter, but the amount of reverb in the mics left every word unintelligible. To top it all off, he gave the crowd nothing. A few mumbled words at the end of the penultimate song just don’t cut it.

I was more enthusiastic about London based indie posters Fanfarlo. I’d never heard of the band before, but I’ll definitely be exploring more of their stuff after this gig. They reenergized my spirit with their stirring, Celtic influenced modern folk songs and eclectic instruments. Any band featuring a mandolin, glockenspiel, trumpet, and clarinet already has me on side. They didn’t let the hard task of being the second support faze them. They performed with such gusto, and I applaud them for it.

I must admit, my enthusiasm waned a bit as the minutes looking at a bare stage ticked by. But I became revved up again as Mumford & Sons greeted us with the pitch perfect harmonies of “Sigh No More.” The sublime performance brought tears to my sister’s eyes, a sign of the emotion they’d stir in the next hour or so.

I might have been ready for bed once they arrived, but Mumford & Sons were definitely worth that wait. There’s was a rare show; with perfect sound, superb harmonies, spot-on instrumentation, good humor, and one of the most passionate audiences I’ve had the pleasure of being a part of. All of the right elements were there. The album tracks went down a treat, but the new material was received just as enthusiastically. That might be a sign of how good these unknown songs were, but it’s also a credit to the receptive crowd. “Roll Away Your Stone” was rollicking good fun, with a melee of musical friends joining the band on stage for a dance. “Little Lion Man,” which appeared much earlier than I expected, saw the crowd erupt. “The Cave” was bittersweet for me; I knew this was the final song, and while I was having such a good time I wasn’t quite ready for it to be all over.

I left The Enmore in a rush of adrenalin that helped make that long train ride back to the Central Coast a little more bearable. What a wonderful show Mumford & Sons treated us with, but boy am I paying for it now.

Image source: own photos

Posted on by Lauren Katulka

Eddie Kowalczyk @ The Enmore, 19 August 2009

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I was just 14 years old when Live released Throwing Copper. I was just beginning to become an angsty and obnoxious teen, and the raw energy of songs like “I Alone,” ‘Selling the Drama,” and the monster hit “Lightening Crashes” struck a raw nerve. That sort of musical mark leaves an impression that never goes away. Last night I took a trip back to that period of my life, and saw Ed (or Eddie as he’s calling himself these days) Kowalczyk do his acoustic thing at the Enmore.

But before Ed there was Leena, an earnest and authentic Aussie singer-songwriter. There was nothing outstanding about her, no flash or frills. But her performance showed that you don’t need any of that when you’ve got good songs. She performed them in acoustic mode, in keeping with the evening’s theme. Stripped back to simply a guitar or keyboard, we could focus on her words and beautiful voice. While many chattered noisily at the bar, the seated audience were captivated. Oh how I appreciate a crowd content to listen.

Just like Leena, Ed reinforced that idea that you don’t need a big band, multimedia screens, or flying pigs if you’ve got the goods. In fact, his show may have been richer for the lack of bells and whistles. I’d seen Live play twice in my life, but never quite like this. Perhaps it was the intimate surrounds of the Enmore, a world away from the entertainment centres. Perhaps it was the stripped back acoustic style. Perhaps Ed’s just in a really good place these days. But it has never been quite this good.

Ed seemed at peace and genuinely happy to spend his evening with us. He seemed very open, spontaneous, laughing and joking with the audience members and encouraging us to sing, dance, become part of it all. There’s something special about rising to your feet, united with everyone else in the room “standing up for love.”

The set was a delight. After seven albums, I didn’t expect to hear all my favourites from Throwing Copper, or “Turn My Head” from Secret Samadhi, or both “The Beauty of Grey” and “Pain Lies on the Riverside” from Mental Jewelry. I was thrilled to hear anything from Mental Jewelry, that sleeper first album, at all. “Supernatural,” the Ed Chesnutt cover from the 1995 MTV Unplugged set, was another great surprise.

After three encores Ed closed the night with another cover, Bob Dylan’s “Blowin’ in the Wind.” It was a fitting end to an evening which really felt like a coming together. Live may be on hiatus, but Ed’s keeping these songs alive in the best possible way. He tells us he’ll be back. His return can’t come soon enough.

Image source: own photo

Posted on by Lauren Katulka

Newton Faulkner and Sara Bareilles @ The Enmore, Sydney – 8th September 2008

Ordinarily when I see a show it’s one that I couldn’t pass up. I may be a music writer, but I won’t go and see just anybody. So when I attend a concert I tend to be a real fan, one of those people who knows all the words to all the songs.

It wasn’t the case last night when I ventured out to catch Sara Bareilles and Newton Faulkner at The Enmore. My wonderful friend Jaime found herself on the guest list and I was lucky enough to be her plus one. We only knew the singles, but we’re both such music fans we were thrilled to see these talented newcomers.

We might have scored comp tickets, but don’t think we were hob-nobbing with the industry elite. They were general admission, a thought which initially made me groan. You know how much I hate standing for an entire show. So it was a pleasant surprise to walk in, find a comfortable position, and stand there happily for the rest of the show. Where was the pushing and obnoxiousness I remember from my general admission days of old? It seemed these punters would much rather listen to the music, dance a little, and not bother anyone else. I’d like to whole heartedly thank the audience for being so brilliant.

With Old Man River a late scratching from the bill, Sara Bareilles was up first. I was utterly transfixed by her. It takes a certain kind of performer to captivate while sitting at a piano, but she pulled it off. There’s a lot more to this girl than “Love Song.” Her songs are accessible yet quirky, a real breath of fresh air. And her personality is so warm. She endeared herself to us all when she said how much she loves Strictly Ballroom, and how starstruck she felt meeting Sonia Kruger. The set was an opportunity to showcase her debut album Little Voice, so it was an unexpected treat to see Sara step away from the piano for an amazing cover of The Beatles “Oh! Darling.” Sara was only the warm-up act, but I was so sorry to see her leave the stage! I may not have known much about her before, but I made sure to grab a copy of her CD from the merch stand.

Sara may be a big star, but Newton Faulkner was clearly the man everyone came to see. The enthusiastic audience joined in singing his songs from the start, embracing this talented Brit and his debut album Hand Built by Robots.

There was a lot that I didn’t realise about Newton Faulkner. I knew he was a good guitarist, but I didn’t realise he was a great one. He uses his instrument as both a melodic and rhythmic one, tapping out the beats while his fingers pluck the notes. He knows what his guitar is capable of, and pushes the envelope to create something amazing. Newton’s not content with just playing a regular acoustic guitar though. He also brought out a child’s guitar for a few songs, including a fun cover of “Blue Shadows” from cult comedy The Three Amigos.

This cover hints at the sort of unexpected comedy I experienced at the show. I had no idea how funny this British star is! He loved playing the unexpected, including a rollicking version of “You Spin Me Round (Like a Record)” and a Latin-inspired take on “Uncomfortably Slow,” complete with a nonsense language! But it wasn’t all fun and games. I appreciated the stories behind the songs, a touch many artists forget but one that brings a live show beyond simply hearing the CD.

Last night I was given the opportunity to experience two of the hottest new names in the music industry. If this is what these artists can produce at the start of their careers, their futures look very bright indeed.

Image source: own photos

Posted on by Lauren Katulka

Jason Mraz @ The Enmore, Sydney – 9 August 2008

Last night I headed to Newtown to catch Jason Mraz at The Enmore. The theatre was cleverly organized so all the fans could experience the concert their way. The seats in the floor section were cleared out to make way for those enthusiastic young girls who wanted to dance and sing along with their idol. Up in the dress circle the vibe was a lot more mellow, with seats allowing us older folks to properly relax to Mraz’s laidback grooves.

But before all that we were treated to a set from Melanie Horsnell. I’d heard her name before but never any of her music, so I was keen to see what she could do. I was impressed with her instantly accessible lyrics and rich country-tinged voice. Although, as seems to be a common complaint with me, I really could have done without the chatter in the room. Am I the only person who listens to support acts any more? The audience did seem to take a little more notice when she performed a breathtaking acoustic version of Bernard Fanning’s “Songbird,” but this focus was short lived. It’s a shame because she was really very good.

All the chatter was replaced with rapturous applause once Jason Mraz stepped out. He drew everyone in with his easy personality and warmth and didn’t let go. This was my third time seeing him live, but with the first with the full band set up. It’s something I wasn’t sure about as I tend to prefer acoustic sets, but in the end I needn’t have worried. The set was lush and varied. Some songs utilised all the instruments and they were richer for it, while for other songs he knew all they needed was an acoustic guitar.

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