Sydney
weather is fickle, there’s no doubt about it. Fortunately, as the rain rolled
in, I found solace in the cosy Hotel Hollywood. Upon entering the little Surry
Hills dive pub, I knew instantly that I was in for an intimate show.

“Folk you cancer *#@!”, initiated by Darlo duo The Falls, is a music
residency running every Wednesday in October. The nights feature some of
Sydney’s finest female singer-songwriters, with prizes raffled off to raise
funds for the National Breast Cancer Foundation (I managed to score a dinner
for two at a very nice Darlo restaurant).
Tonight, post-work drinkers were exuberant, and Doris
Goddard, hotel founder and ex-Hollywood actress, is seen in the corner sipping
her vino, soaking up the lively ambience.

Kicking
off the evening was newcomer to the scene, Jess
Chalker. Starting slow with

"Love
Story Endings"



(impressively rhyming ‘New York’ with ‘Kurt Vonnegut’), listeners were
immediately embraced by an insightful storyteller. I liken Chalker to Laura
Marling, in both her tale-telling writing style and suitably gazed demeanour.

We were treated to songs off Chalker’s debut EP – including
the poignant



"A letter to my
son", "

Warning",


and

"




Said The Raindrop To The Seed"



– the song that sparkplugged her
musical career after garnering over 450,000 views on Youtube. She engaged in
charming banter - showing herself to be wonderfully amiable and
intelligent; she


informed the crowd that she was
playing in the midst of writing a weighty assignment on internet censorship.
While she confessed in



“The
Aeroplane Song”



that flying 'does not seem very natural', Chalker’s refreshingly
heartfelt approach demonstrated that music was certainly innate to her.

Next up were The
Falls, who are no strangers to the local scene. Everything about Simon Rudston-Brown and Melinda Kirwin were
complementary. Utilising minimal instrumentation (guitar, keys, melodica and
foot stomps), they alternated lead vocals and effectively supplemented each
other with glorious vocal harmonies. The Falls’ strength, however, came from
their unimpeachable duo dynamic. They proved that either can stand out solo,
but are completed by the other’s embellishments. Playing newer songs, standouts
included



“All my life”, “Into The Fire”,


and




“Bigger Than Us”.

Progressing through an appreciable set, there was a timeless
quality about The Falls. They have a country-folk sensibility companioned with
a Simon & Garfunkel vibe. Their newer songs indicated a different
direction, and I am personally excited about what they have to offer as they
follow this road.

Last on for the night was Caitlin Park. I had been meaning to catch Park’s show for some six
months, after a friend introduced me to her music. She did not disappoint.

Opening with handclaps, mic taps, and foot stomps - flawlessly layered into a looper pedal - she had me on the edge of my seat from
the first song, 



“Would You Let Me Back In”.


Her voice was deeply rich - reminiscent of Kat Frankie, Clare Bowditch
and Imogen Heap, but essentially incomparable to any other. Joined by friend
Eirwen Skye on backing vocals, the duo lulled through a mesmerising rendition
of Micah P. Hinson’s

“You Lost Sight On Me”.

The drunken revellers' unruly presence manifested during
Park’s set. At one point, Park mentioned that she was 'pushing' - subtly
indicating that she was battling with the disorderly oldies at the back of the
room. Nevertheless, she showed her capability, and decided to brave it with a 'soft song'. Skilfully picking the opening to 
"



With No Strength To Defend, Be A Ghost”



(no “fake chorus” applied), Park proceeded to sing the verses, but was swallowed by the escalating volume of
drunken chatter. Impressively, she did not ebb. On the contrary, she fervently
persisted. As she and Skye repeated the wistful end tag, 

"I hope I changed you some",

conjuring up emotions of dolour,
the music started to transcend. Silence deservedly descended… An arresting
moment.

With the humble crowd finally taking heed, Park navigated
deftly through a few more songs, finishing with tight looping finesse on



“Warriors With Wild Hearts”.


Park’s set was poignant, at
times heart-rending, but nonetheless stellar. Those who turned an ear were
immersed.  

There is a sense of inherent musicality about Caitlin Park.
She is doing something beautifully different; priding herself on lyrical and
musical substance. I don’t know how long she practices for before a show, but
she mastered her performance with astounding agility. Her setlist itself was
craftily put together; unravelling seamlessly, absorbing the attentive from
beginning to end. Her unaffected demeanour ridded visual distraction; allowing
her music to carve its own world of aural opulence.

The next few months should be exciting, as Park records her
first EP. I look forward to seeing her fashion her own branch of pensive
neo-folk. For now, she remains one of Sydney’s best-kept secrets, but we all
know with secrets – you just have to tell one other person.

What can I say? I enjoyed my night. Actually, correction: I
really enjoyed my night. Fans of real, honest folk music should scrawl “Folk
you cancer*#@!” onto their calendars. If tonight was anything to go by, Wednesdays at Hotel Hollywood could be the new breeding ground for genuine artists.