Fresh Iconis

Figure since I've been listening to them obsessively for the past week that I would share the two new songs Joe presented at his last show with the family at 54th Below:

Krysta Rodriguez singing "Out of Sight/Out of Mind (The Buddy Song)"

Annie Golden singing "Spin Those Records"

Happy listening!

Joe Iconis and Rated RSO marathon

Not going to lie... I'm kind of in a state of euphoria right now after a night of back-to-back (ok, I totally indulged in some Shake Shack in between) concerts courtesy of Joe Iconis and Ryan Scott Oliver. Too much of a good thing? Never! Though I have to admit I think concentrating so much in a relatively short period of time is pushing things a bit.

Both shows though were awe-inspiring, some of the best performances I have seen of either composer yet. For a free event, Joe put on a wonderful, fully-realized set with a diverse sampling of his musical abilities. A combination of tunes from The Black Suits, Bloodsong of Love, The Plant that Ate Dirty Socks, and many stand alone songs from Things to Ruin and Rock 'n Roll jamboree, I was thrilled to witness an audience, many who seemed new to Joe's songs, get to experience a thorough sampling of his work. With Krysta Rodriguez, Lance Rubin, Jason "Sweet Tooth" Williams, and Katrina Rose Dideriksen rocking the mics, there was little need (not that I don't miss the rest of the band) for more than the piano and the powerful voices to fill that auditorium and perhaps spill into the rest of the library.

Something I remembered through this performance is how amazingly Joe is able to capture youth in his songs, from the most angsty moments to the most sincere, from the silliest to the most heartbreaking. All of them are underscored, though, by a simple truth, the validity of a specific perspective that almost always puts the driver right in the passenger seat alongside the performer. They are in on all the jokes, and they feel the weight of all the confusion. There isn't a moment when a song isn't trying to express something, to show a psychology or process behind someone's actions. The characters are often flawed and hardly ever are those flaws without consequence or introspection, and regardless of the fact that Joe didn't provide much context for these songs in the interview portions, the way they took shape for themselves only served as a testament to his craft. Watching host John Znidarsic's face throughout the performances was really gratifying; he gladly went along for the ride and commented himself about how impressed he was with the journey he ended up taking.

Rated RSO was a bit more of a whirlwind, but it was one of the most beautiful storms I could have possibly weathered. It was every kind of artform combined into one: the images from the 35 MM project, the acting skills of the likes of Lindsay Mendez and Alex Brightman, the full-bodied music provided by an amazing band, the pure voices of talents like Natalie Weiss and Eric Michael Krop, and finally the sheer artistry of Ryan's lyrics made this show a feast for the senses. The songs were varied in style and context, but each of them had a confidence and twistedness that was perfectly in the RSO style. Every one of the songs created a little world within themselves, daring the audience to come in and even making them fear the thought of leaving those worlds behind.

I think what shows like tonight's remind me of is the beauty of musical theatre, not only in the art of writing music and lyrics but in the beauty of it in performance. The temporary nature of it makes the experience unique and special, while also reminding us of the importance of enjoying simple pleasures while they last. This medium combines so many elements that express the incommunicable. I feel lucky to have gotten a chance to see what I did tonight, and I only wish that everyone can find opportunities to find experiences like this for themselves.

I don't really have any links or videos for this entry, though as soon as concert footage finds its way to interwebs, I'll be sure to link to it. In the meantime, I thank you for letting me rant, and look forward to getting to blab on about even more new talents in the near future.

the leaves start to turn, it’s fall now

Kait Kerrigan and Brian Lowdermilk are a musical match made in heaven. Their songs are rich in nostalgia, self-awareness, and seem to adapt to their subject matter like a glove conforming to the contours of a hand. Their work, from original musical The Unauthorized Biography of Samantha Brown to song cycle Tales from the Bad Years to their adaptation of popular children’s book Henry and Mudge, ranges in audience and style, but their ability to communicate emotion and perspective is something that always seems to remain constant.

Recently, Kerrigan and Lowdermilk announced on their website that they will begin licensing Party Worth Crashing, a “do-it-yourself concert” in which performance companies can put on a custom-made song set of Kerrigan and Lowdermilk songs for a simple licensing fee. This marks a first in many ways: this is the only kind of show with Kerrigan and Lowdermilk music currently on the market for licensing (as far as I know), this is the first time I’ve heard of where a concert set up of a composer’s music is available for licensing as a complete show, and this is the first opportunity to hand pick the story arc and specs of a performance.

A common complaint of many people who don’t care for musicals is that they feel like musicals are just plays in which people “randomly burst into song.” Where big production numbers and spectacle used to play a huge role in the musical theatre experience, I think the videos and performances featured in this blog alone shows a trend against that impulse (even though this is still a philosophy going on strong on Broadway). Up-and-coming musical theatre works can be just as insular as they are performative on the exterior. They are more personal, able to even stand alone out of context, and they communicate universal themes in small windows of opportunity where a character can pour their heart out, rail against the man, or tell a story that reflects the truths of his or her experience. Kerrigan and Lowdermilk’s Party Worth Crashing is our first glimpse into the possibilities created by this movement, and depending on the success of this project, could become an option offered by many composers, widening the range of what exactly constitutes as “musical theatre.”

In any case, I am very curious and excited about this and can’t wait to see people starting to take advantage of the offer. To check out the information for licensing Party Worth Crashing, take a look at their page here. For the licensing fee, a company has a pick of any song in the Kerrigan and Lowdermilk songbook. So, to end out this blog entry, as well as give some audio/video clips to be entranced by, here are some videos of the songs I would have to have in my set if I was assembling a performance of Party Worth Crashing:

"Run Away With Me" sung passionately by Michael Arden



"How to Return Home" gorgeously rendered by Krysta Rodriguez



"Just This One Time" hilariously and sweetly performed by Morgan Weed and Caissie Levy



"Not a Love Story" delicately told by Phoebe Strole



"Girl Who Drove Away" brilliantly interpreted by Jenni Barber



"Say the Word" sung with touching humility by Julie Reiber



"Not Her Way" given attitude and flair by Kate Shindle



"Pretty Girl Blues" with soaring harmonies by Helene Yorke, Caissie Levy, and Dennis Moench



"My Heart Is Split" sung by the beautiful Kait Kerrigan herself

We Vow to Just Allow the Here and Now, 'Cause It Makes Sense

Ask anyone who knows me and they will tell you that my absolute affinity for Joe Iconis and his work is no secret. I have dragged countless non-theatre friends to his concerts and have probably spent more money on his shows over the past year than I have on toiletries. There's something about his songs that is so infectious, addictive, universal, effortless, hilarious, and brutally honest that it's hard for me to really sum up why his work speaks to me the way it does.

In fact, the only ways I can really capture the essence of his songbook is through experience. The first time I went to a Rock 'N Roll Jamboree was two summers ago, and Joe opened his set with "Son of a Gun," which is still probably my favorite song of his to this day. Played by Joe himself, I instantly recognized the song as being excerpted in SPF's The Black Suits. And I remember sitting at the Laurie Beechman completely enthralled, moved by the poignancy and bitter realism of a song whose lyrics were all too familiar. Every one of Joe's songs tend to have a wicked sense of humor and sarcasm beneath the surface, but even in the kitschiest, most gimmicky of conceits, there's at least some kind of morsel of truth, something that transcends a simple song in a way that's not heavy-handed or self-serving.

So, rather than blathering on about the conceptual aspects of Joe's work, I figure I would do as many people are doing with the new year on the horizon and compile a list of my top 10 favorite Joe performances of 2009, to let you see what I love about Joe's music for yourself:

#10. "Everybody's at the Bar Without Me"



This is a fantastic song in its own right, but there were some politics concerning this being on the list. A primary factor is simply Katrina Rose Dideriksen. While Joe writes fantastic songs for girls, a lot of the songs in this list are male-heavy, so I thought I wanted to include a song where she really goes to town and show her stuff. In Things to Ruin, this song is also performed by Badia Farha, who adds her own sexy, humorous turn. So really, a song performed by two sexy ladies definitely deserves a spot on the countdown.


#9 "Son of a Gun"



If I were to make this list in the coming years, so long as Joe keeps performing this song, I will always include this song somewhere on there. The very raw, precise lyrics. The progression of an intimate metaphor. The way it inspires honest performance. Nothing will top the sensation of hearing this song for the first time, performed by Joe himself. But Jason "Sweet Tooth" Williams always brings it in performance. And Eric William Morris' performance in Things to Ruin has become a staple of the evening.



#8 "Guide to Success"



First of all, I love when Joe performs his own work (as I think I've mentioned a billion times before this). He surrounds himself with incredible talent who all perform his songs with commitment and heart. But when Joe sings his own stuff, you can hear the vulnerability in his craft. It's truly an incredible experience, and this song in particular, a tirade on the tyranny of industry, creates a moment of earnestness that is rarely observed.



#7 "Born This Morning (The Cicada Song)"



Things to Ruin in one of my favorite nights of Iconis tunes, and it's even survived the closing of The Zipper Factory. "Born This Morning" is an incredible opener, chock full of energy, catchiness, and swagger. Plus, it features the whole ensemble, and when you get all of those guys wailing their hearts out, nothing but genius can result.



#6 "Anymore"



Krysta Rodriguez is awesome. Joe Iconis is awesome. But it's when they come together in a musical dialog about lost connection that things get pretty fucking incredible. The lyrics aren't terribly sophisticated, but it's the clumsy but intimate words that get me every time.



#5 "Lisa"



Let me make one thing clear: Katrina has and will always sing the shit out of this song. She makes it sexy, passionate, and wonderfully courageous. But the first time I heard this song was in context in The Black Suits, sang by Jason Tam as the woefully conflicted John. There's something about the lack of confidence and sheer angst that he characterized in the song that really adds a story.



#4 "Rosalie"



It's about time that Ian Kagey stepped out from the Iconis band and had a song to rock out on. Not only do I love the funkiness of the music, but Ian's delivery is surprisingly soulful.



#3 "Girl, Your Days Are Numbered"



Incredible. On the aesthetic side, Jason in a Charlie Brown shirt and Katrina in a Max costume—what can be better? But add to that erratic and melodic music, along with the powerful voices of Sweet Tooth and Katrina, and this song becomes a rousing ballad of sorts.



#2 "Last on Land"



When I first heard this song, I enjoyed it but felt like it was a bit out of place with the rest of the music that evening. Also, with the samples of music I've been hearing of Blood Song of Love, I have a hard time grasping what exactly this show is going to be about/like. But when the haunting harmonies were still in my head weeks later, I knew that this highly evocative song is an example of Joe's capabilities in his future works.



#1 "It's All Good"



The first time I heard this song, one of the last numbers of The Black Suits, I distinctly remember how I felt in that moment. I was elated and also a little sad. This song seemed to sum up the entire show, the love of music and art, and I was upset because I knew that eventually the song would have to be over. It's hard not to feel a connection with the characters in this show and this song (whose cast is represented here, with the exception of Nick Blaemire who is substituted with Joe), and I was happy to see some kind of revival in this small space. It's an easy, unpretentious declaration of love for craft, a perfect description of how I feel about the genre, especially Joe's work.