I’m still reeling after an amazing night of performances last night at the Kerrigan and Lowdermilk concert, Under the Influence, at the Birdland. As I’ve raved about this songwriting duo before, the night was an incredible combination of some sweet tunes. I was impressed with the kind of narrative they set up through their song selection—an amalgam of their well-known songs with stories of the pop music that influenced them, as well as some covers of songs that impacted their musical style.
Perhaps the thing I loved most about the concert though was their decision to re-orchestrate and rearrange their most popular songs. In fact, the highlights included a (gasp!) male version of “Two Strangers,” a revamped version of “Runaway With Me” with the eclectic and whimsical Spring Standards, and a re-orchestrated “Not a Love Story” with Kait Kerrigan at the violin. There’s something very admirable in a musician’s willingness to play around with their music, and the beautiful new creations that came out of that play showed how malleable their music is.
Hearing their influences was also powerful. I’ve always felt that their music has such a distinct female voice and has a contemporary sound that is distinctly theirs. Ironically, this comes from the fact that they borrow from contemporary pop musicians, building a musical theatre reflections of popular hits.
So, through the power of youtube, I leave you with some videos of my favorite performances of the night: Jay Armstrong Johnson, Morgan Karr, and Matt Doyle singing “Two Strangers,” Katie Thompson singing “Five and a Half Minutes,” and Jenni Barber, Kait Kerrigan, and Brian Lowdermilk singing "I'm Sorry."
EDIT: Got a few more!
"Run Away With Me" with the Spring Standards:
"My Heart Is Split" with Vienna Teng:
In fact, go watch them all here.
Showing posts with label Jenni Barber. Show all posts
Showing posts with label Jenni Barber. Show all posts
Tuesday, March 2, 2010
Tuesday, January 12, 2010
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
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
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