Jack Carty

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In an age when musicians strive for irony, an artist like Sydney-based Jack Carty is a rare treasure. With a vocal range and clarity most recording artists would envy, this tall thin young man of twenty-three steps onto the stage, barefoot, with an acoustic guitar, and gently enthralls the room. There are no pre-recorded backing tracks, and he doesn't need them.

Carty opens with an early song from his 2009 Wine and Consequence EP and already girls are moving closer to the stage. There are girls draped over the balcony gazing down at him, and a small group huddled on the floor. It might be time to mention that Jack Carty is a very attractive young man.

Carty's gentle crooning and soft acoustic guitar give each song the quality of a lullaby, perhaps never moreso than in the golden dreamscape of "Amber's Lullaby" which was written as exactly that. There are songs from the new album, A Thousand Origami Birds, and recent songs that haven't yet been recorded. From the delightful lighthearted poke at the 'Melbourne indie hipster scene' to the heartfelt regret and reverie of a new song whose working title is "Travelling Shoes" it's clear that while Jack Carty is developing as a lyricist and storyteller, he isn't about to lose any of his compelling honesty.

This is a young man who sings from the heart, and does it well. There's the feeling that the songs are largely autobiographical, and it's precisely that honesty that makes Jack Carty so engaging. The songs aren't deeply encrypted in endless layers of ironic avoidance. Perhaps this is why the audience is so engaged, and why it doesn't feel ingenuine when Carty smiles and tells us that this the most fun he's had on the tour.

As the night draws to a close, Carty plays "Valentina" which is one of the more upbeat tunes from the new album, accompanied by Leroy Lee on banjo, before unplugging and inviting Leroy and his other touring companion Jordon Miller to step in closer to the audience for a brief acoustic set, which includes Jordan Miller song "Those Little Birds" and "Them There Hills" from Carty's latest album. If there's a highlight tonight, this is it. The set closes far too soon on a cover of The Old Crowe Medicine Show's "Wagon Wheel".

Nights like these offer a quiet refuge from a world consumed with affectation and artifice.

Whatever your pain, Jack Carty and his friends have a soothing balm to cure what ails ye - AAA Backstage

Sydney-based musician Jack Carty’s debut long-player One Thousand Origami Birds is definitely a slow-burner. On the first play, there didn’t seem to be a huge distinction between each song; however, after a few listens the songs began to take on their own unique personalities. With each song, Carty has a story to tell.

The tracks change between the sparse – little more than Carty’s voice and an acoustic guitar, to those very sumptuously layered with banjo, harmonica, backing vocals and more. On 'Levies', acoustic guitar weaves a beautiful melody while Carty’s crystal clear voice cuts through the music, complementing each other perfectly. The drums kick in on one of the albums highlights, 'Valentina' for some foot-stomping country and a sing-a-long chorus. Carty is joined by fellow Sydney musician Elana Stone on ‘Grey Sky’ for a back and forth tale of lovers desperate not to let go of one another; violins creating musical and emotional highs and lows.

One Thousand Origami Birds doesn’t stray too far from its contemporary folk genre, but this does not adversely affect the album, rather it creates a sense of cohesiveness and familiarity. After a few listens of the album, you begin to feel as though you’ve known the songs for years. While One Thousand Origami Birds certainly isn’t a party album, more the type to relax to, it is by no means dull. The poetry in Carty’s lyrics draws you in and keeps you listening.

One Thousand Origami Birds is a strong and confident album, without being overly self-assured. It has a vulnerability which keeps it grounded and inviting. Having reached this kind of musical maturity and strength on a debut album, it is clear that Carty has a very bright future ahead of him. - The Dwarf

Sydney-based musician Jack Carty’s debut long-player One Thousand Origami Birds is definitely a slow-burner. On the first play, there didn’t seem to be a huge distinction between each song; however, after a few listens the songs began to take on their own unique personalities. With each song, Carty has a story to tell.

The tracks change between the sparse – little more than Carty’s voice and an acoustic guitar, to those very sumptuously layered with banjo, harmonica, backing vocals and more. On 'Levies', acoustic guitar weaves a beautiful melody while Carty’s crystal clear voice cuts through the music, complementing each other perfectly. The drums kick in on one of the albums highlights, 'Valentina' for some foot-stomping country and a sing-a-long chorus. Carty is joined by fellow Sydney musician Elana Stone on ‘Grey Sky’ for a back and forth tale of lovers desperate not to let go of one another; violins creating musical and emotional highs and lows.

One Thousand Origami Birds doesn’t stray too far from its contemporary folk genre, but this does not adversely affect the album, rather it creates a sense of cohesiveness and familiarity. After a few listens of the album, you begin to feel as though you’ve known the songs for years. While One Thousand Origami Birds certainly isn’t a party album, more the type to relax to, it is by no means dull. The poetry in Carty’s lyrics draws you in and keeps you listening.

One Thousand Origami Birds is a strong and confident album, without being overly self-assured. It has a vulnerability which keeps it grounded and inviting. Having reached this kind of musical maturity and strength on a debut album, it is clear that Carty has a very bright future ahead of him. - The Dwarf

The press pack for 23-year-old Jack Carty’s debut album is generous. There are no shoddy plastic slip cases, hastily photocopied tracklists or black and white photographs. Jefferton James’ cover illustrations are detailed, beautiful and colourful. The press release has been printed on heavier-than-usual paper. And indeed, the production values themselves are sparing but controlled. Carty, clearly, is a man with an idea. After making waves with debut EP Wine And Consequence, his debut album is 12 tracks of lyricism and simplicity, of contemporary folk which Carty himself admits is an oxymoron, a desperate attempt to be exempt from the singer songwriter bracket. The album begins rather dubiously with the title track (which appropriates its opening riff from The Beatles’ Blackbird) and gives an air of borrowed pretension (the title: pretentious, oui?) is a little naff. But Carty has better, far better, to come. Grey Sky gives us a taste of the evocative instrumentation to follow, and revolves around Carty’s favourite subjects: leaving, arriving and yearning. Carty’s voice veers between an embittered croak favoured by kindred folk spirit Leonard Cohen and the high, sweet register of Paul Simon. Every now and then, specifically on tracks such as Hey You, poppy desires leave him sounding a bit Jason Mraz. Mid album, the wordplay on standout track Tempest reaches its funniest, most moving and relevant: ‘All art is immoral and all fashion is ugly; it has to change every season so it doesn’t get boring’, and Carty proves that he’s an extremely capable and intelligent lyricist, who is able to ruminate on the grit of the situation with a youthful, surprising confidence. Though Carty occasionally borders on the same-same syndrome of chaps with acoustic guitars, he mixes it up enough to create that quiet inner reflection and sparse introversion that gives an effective mood. A slow burner, for sure, but worth the heavier-than-usual paper of the press release.
Lucy Campbell - Rip It Up

The ever-cosy Vanguard was transformed into a giant living room last week as Jack Carty Launched his new Album One Thousand Origami Birds.

The room felt intimate as Carty arrived on stage to begin his set to a chorus of cheers and applause. The assembled crowd had already been treated to the beautiful sounds of Emma Davis, who shared some of her great song-writing to begin the evening.

I hadn’t heard much of Carty’s music before the gig, but it seemed as though I was in the minority, with family and friends assembled en masse to celebrate the launch. From his first song, “One Thousand Origami Birds” the title track to the album, it was clear we were in the hands of a confident performer. Catching up before the gig, mates were trying to explain Jack Carty’s sound by referencing other artists, but I was pleased that his blend of heartfelt, tender vocals and confident finger-picked guitar wasn’t that easy to describe. Perhaps a little rooted in blues, Carty’s first song combined a playful energy and instrumentation with a solid, yet slightly vulnerable vocal that instantly held the crowd in thrall.

A cavalcade of guest performers supported Carty through the set. Elana Stone’s Amazing vocals on “Grey Sky” were a highlight, as was excellent backing vocals on a number of the tracks by younger brother Dashiel Carty. As Leroy Lee carried his Banjo off stage Carty apologised for his determination to play the album in order, but you got the feeling that the musicians were enjoying it every bit as much as the man with the microphone.

“Hope” was a highlight of the set for me, with a building energy and a folk-pop refrain with enough moments of silence to make it dynamic, mixing sadness and loss in equal spades with the faith. Gutsy live songs like “Hey You” and “Valentina” were unapologetic fun, an opportunity for the performers and crowd to really loosen up. “Them There hills” also stood out to me, lyrically a very folky/country song, the assembled musicians got the old Vanguard light fittings rattling with great stompy percussion, strident banjo and and live energy pushed along by Jack’s soaring vocals in the chorus.

Like the live performance, the album itself is also confident and just a little relaxed. In fact, whilst the vocal energy of the live performance has been captured here, it does feel that the tempo on some of the more energetic songs has slowed. In contrast, slower songs like “The Tempest” that already sounded great live gain an extra weight, depth and closeness. Another example is the more judicious use of reverb on “Levies” which again feels close and intimate. The superb “There’s a Hole in Me Darling” is a great track to conclude the album, and, like the live performance, it is in the dynamics where Jack Carty impresses; a strong, yet vulnerable vocal combined with a delicate piano that builds to a crescendo and then falls back to silence.

At the end of the gig, for an encore, Jack, his brother and his father got up to belt out a rousing (and damn accomplished!) version of Dylan’s “Rock Me Mama/Wagon Wheel”. It was a fitting end to an energetic and joyful gig. Whilst I feel that not all of this energy makes it onto the more considered recording, One Thousand Origami Birds is a well-rounded album that encompasses the beauty and much of the energy of Jack Carty’s live performance, and also offers it’s own unique insights, particularly in its more contemplative moments. - Timber & Steel

Everything about Sydney singer/songwriter Jack Carty suggests cliche - Caucasian, good-looking, early twenties, builds tunes around an acoustic guitar. What's remarkable about his debut album is how unique it is, avoiding everything you'd assume with stark, charming honesty. While the opening title track doesn't stray from the acoustic guitar/voice combination, subsequent songs do, with Grey Sky employing female vocals to carry the melody Carty's voice unusually acting as backup, and the upbeat harmonica-flavoured Valentina showcasing a simple but strong melody. Closer "There's a Hole In Me Darling, Come Take It Away", backed by piano and strings uses silence as much as sound, the pauses utterly staggering. Carty's music is very much Australian, from untouched accent t subject matter (on the muted trumpet-tinged "Sandakan" he sings "I was happy back in Lismore/until they called my number/and within two months we were landing in Singapore"). Unlike other musicians who strongly display their roots, Carty emanates earnestness rather than cringeworthy ocker pride (though he has covered Khe Sanh live - make of that what you will). He bears many similarities to American Singer/Songwriter Brett Dennen in terms of songwriting and execution: they're strong tunes with thoughtful stories delivered unpretentiously, making them feel more like relaxed conversations than forced poetry. The album is a captivatingly beautiful listen with exciting string flourishes, layered vocals and cheeky schoolboy charisma throughout. Yes, Carty is a sensitive white boy with acoustic guitar (SWBWAG - you'll be surprised how useful this acronym is), but one with a voice all his own. It'll be a real pleasure to watch the unfolding of this undoubtedly illustrious career.

Giselle Nguyen. - Drum Media

“He’s frighteningly young to have such a laid back and assured charm to him – He doesn’t seem to realize how easy he has made it look” – Drum Media.
- Drum Media

Carty reminds me of an Australian Damien Rice or Ray LaMontagne… All about beautiful, melodic folk tunes, buttressed by sweet and intimate vocals and poignant lyrics” – SXNews.com.au - sxnews.com.au

A regular on the local Sydney gig scene, Jack Carty is every bit the clean cut boy you want to take home to Mum. His 2009 EP is a complete reflection of this; laidback tunes mix with thoughtful, catchy lyrics to create a standout record.

To sum this EP up in one word would be near impossible; there are moments of bouncy lightheartedness, such as in the opening track 'Sunlight', as well as darker moments found in the closing track 'The Sailor Song'. And tracks such as 'Wine and Consequence' provide both. But throughout the EP the listener is confronted with a sense that this music is genuine. Jack Carty is not a man of smoke and mirrors. He is a man with a story, usually about a girl, and he just wants to share it with you. If it weren’t over a guitar, it would be over a beer, and Carty’s relaxed charm would be just as obvious.

The catchy first track 'Sunlight' invites you in and gets you hooked. 'Wine and Consequence' is a love song of sorts and will definitely leave you looking for someone to hold close at night. 'Amber’s Lullaby' lives up to its title with its soothing melodies, leaving you a little jealous and a little curious for the namesake. Carty picks up the pace with 'It’ll Be A While', a song which speaks as directly to the listener as it does to the subject when Carty assures us “It’ll take a while, but I know we’ll be fine.” 'Satellite' is Carty’s ode to the road as it were, another beautiful melody which allows a sense of ease to wash over as you listen. The EP closes with 'The Sailor Song', another beautifully crafted song with a slightly more melancholy message as Jack Carty pines for “someone who’d listen” and “someone who’d care.”

Perhaps “pretty” would be the best word to sum up Jack Carty’s efforts as one can’t help but feel that with every note he plays the girls fall deeper in love him, and luckily enough, Jack Carty has the charm and wit to make their boyfriends pretty fond of him as well.

Review Score: 8.5/10 - The Au Review

“we have seen his music grow and mature to levels that usually span over
several albums. Its really interesting to see where this kid goes, with his
heartfelt indie tinged rock melting hearts left right and center. With a million
and one guitarist singer songwriters out there, Jack keeps crowds interested
through an entire set steaming with lovable personality and musical
adventures. Often breaking into impromptu acoustic raps and singing to
individuals in the crowd, it”s hard to leave and not feeling pertinent to the
beautiful moment you just experienced” - NeonHearts Blog