Aware of Tim Urban’s proclivity to incorporate goofball antics into his performances, ala Jon Peter Lewis, who would have ever predicted that he would outperform frontrunner Crystal Bowersox on Elvis night?
He did, however, delivering one of the more memorable performances Tuesday as “American Idol” served up another dose of the top 9 (thanks to Michael Lynche receiving the judges’ save last week). Urban’s “Can’t Help Falling in Love With You” was emotionally sincere and vocally strong, again emphasizing that Urban can be a valuable part of the competition when he makes the effort to truly connect with his song. Most important, however, was the fact that his delivery screamed indie/alternative–think an “OC” soundtrack cover of the song–demonstrating that he not only can sing when fully committed by can also interpret. This was an artist’s rendition of the song, and a far cry from the silly version of “Jailhouse Rock” many would have expected the “old” Tim Urban to deliver.
Tim was not, however, the night’s best. In possession of that honor is Lee DeWyze, who delivered one of his strongest performances of the season on “A Little Less Conversation.” As is customary for a Lee performance, the vocals were not pitch-perfect. But as has become especially customary in recent weeks, Lee rocked the house with legitimate energy, visible passion and his phenomenal vocal tone. He got the crowd and viewers behind this song, proving that he has the control and artistry to make a fairly dated, fairly gimmicky song matter in 2010. Lee’s somewhat dull personality could prevent him from capturing the necessary fanbase when the competition gets tighter, but his performances are a consistent delight.
Looking to make the most of his second life, saved contestant Michael “Big Mike” Lynche went the soul/R&B route with a take on “In the Ghetto.” The performance was not on par with Taylor Hicks’ phenomenal season five rendition, but it was a beautifully-sung, honest number from Michael that proved yet again why his potential elimination last week was so ridiculous. There is no smoother vocalist than Michael in this competition, and when he connects with a song the way he did Tuesday, it is hard to claim he does not deserve a more definitive frontrunner status in this competition.
After throwing himself into the frontrunner mix last week, Casey James came back down to Earth on “Lawdy Miss Clawdy.” There were moments in which his singing was fantastic, but on an overall basis, this did nothing to further Casey’s standing in the competition. The guitar-playing was far from inspired, the arrangement was pedestrian and the vocal risk-taking was non-existent. And though he sounded fairly strong throughout, he had trouble controlling his vibrato, which shattered the notion that there was any sort of “swagger” in the performance. A good, but greatly underwhelming overall effort from Casey.
Siobhan Magnus, meanwhile, continued to prove that fans might have jumped the gun in labeling her a frontrunner several weeks ago. Siobhan may still serve as a big factor in this competition due to her fanbase, but that impact is becoming increasingly difficult to trace to her actual talent. Her “Suspicious Minds” started off as utterly dreary karaoke, devoid of any excitement or vocal ownership. And while the arrangement built into a frenzy that allowed for the inclusion of her signature ‘power notes,’ they felt more forced than ever, turning a passionate, classic song into a generic Diva ballad. Siobhan has shown she can connect in the past–look at “Paint it, Black”–but she did not do so Tuesday. There was just so little to remember in this one.
After weeks of urging from Simon Cowell, Katie Stevens finally leaned in the direction of country with “Baby, What You Want Me to Do.” Yet of the four judges, only Simon found fault in the performance, buying it as little more than ‘loud.’ While such a dismissal from Simon can sometimes signal a contestant’s endangered state going into the results show, Katie absolutely deserved more credit from Simon. For starters, his idea WORKED. Though a bit nasally, Katie incorporated more attitude and character into her voice than ever, finally sounding like an ARTIST, rather than a diet version of Katharine McPhee. Katie successfully walked the balance between powerful vocals and believable vocals, turning in the kind of performance it takes some “Idol” contestants years of experience in the professional scene to master. Her overall demeanor, attitude and facial expressions were also helpful, turning this into a REAL performance. By virtue of her frequent appearances in the bottom three, it is clear that many fans just do not see value in what Katie brings to the table. Regardless of how it changes her vote total, this performance had to have proven them wrong.
It was actually strong enough to give Katie the “victory” among female performers. Frontrunner Crystal Bowersox delivered what was essentially her first true “miss” of the season with an indulgent, yet forgettable rendition of “Saved.” Even though the vocals were quite strong at times, the whole performance just failed to register. She seemed uncomfortable with the pacing, out of place trying to navigate the electric guitar (as per mentor Adam Lambert’s suggestion) and just completely detached from the spirit of the song. The vocals carried neither authenticity nor spark, and it is baffling that the judges found so much to praise in the performance.
But a bad Crystal performance is still a good “American Idol” performance. A bad Andrew Garcia performance, however, is just legitimately awful. In one of those “change it just to change it” arrangements, Garcia turned the legendary rock song into a disgraceful lounge performance. There was no color, strength or believability in the vocals, and his stage antics and facials in no way matched the pretentious ‘soulful’ interpretation for which he was going. Horrific interpretations like this one suggest that his past few successes, notably “Straight Up” and “Forever,” were flukes. It is becoming painfully clear that his game of reworking arrangements is not based on an honest connection to the songs’ meanings but a desperate tactic for trying to demonstrate relevance in the competition.
Aaron Kelly’s “Blue Suede Shoes” was even worse. Utilizing Adam Lambert’s ill-advised instruction to incorporate a growl into the voice, Kelly just came across as so uncomfortable and unconvincing in this performance. He was not so much singing as playing a part in some sort of variety show, and he found no success navigating his way around the stage. This was not “cute” or “charming”–it was just sad. Aaron showed some promise early in the competition, but as we approach the finale and contestants are expected to show legitimate growth and confidence, Aaron is doing nothing but making it crystal clear that he is not a star. He is just a kid with a fairly decent voice.
Top 9 (Part 2) Performance Rankings:
Rankings based on Tuesday’s performances, not anticipated vote totals
Lee
Michael
Tim
Katie
Crystal
Casey
Siobhan
Andrew
Aaron
