Capital Region Performance Gallery

by Dick Frantzreb

(Note that the purpose of this review is not to evaluate this performance but simply to tell what it was like to be a first-time audience member.)

The Empire Arts Pop Choir is a new choral organization, an activity of the Empire Arts Collective (www.empireartscollective.com) that describes itself as “a nonprofit performing arts incubator dedicated to providing education, resources, and collaborative opportunities for performing artists in the Sacramento area.” The Pop Choir gave its first performance this past spring. The choir operates on a 10-week “term” of weekly 2-hour rehearsals that culminate in a concert. This allows people to drift in and out of the group as they balance other demands on their lives. Participants don’t have to be able to read music or even have singing experience. Tuition is $150 per term and includes sheet music and practice tapes.

The “Space Oddity” concert was in the Urban Hive, which describes itself as “a membership-based community of innovators, creatives, entrepreneurs, and changemakers….” The physical facility is a multifunctional space that consists largely of workspaces and meeting rooms. It is located in The Cannery on Alhambra Blvd., a development with other commercial and non-commercial enterprises and apartments.

As I entered the Urban Hive on this Saturday evening, it felt a bit chaotic with upbeat music and a large open space with people standing around and talking. I noticed people of all ages ― but mostly young adults ― and even a few children. I later learned that the idea was to create a happy hour before the concert, an opportunity to interact with one another and with choir members.  It was indeed a festive atmosphere, and there was clearly a sense of community here. I tried to buy a ticket but was told they had sold out, and I was offered a standing ticket for $10. (Remember this if you attend one of their concerts in the future, and order your ticket in advance.) As it turned out, I was offered a seat.

The concert was performed in what was essentially a wide hallway between two sets of work/meeting rooms. Chairs in rows of 5 were set up, and I’d estimate there were about 25 rows. The performance area was a few feet beyond the first row of seats. Behind it was an artistic-looking, circular dais, about 2 feet high and apparently constructed of one-inch vertical slats of different heights. Behind this structure was a large screen six feet off the ground, and as the program was about to begin, Hubbell Telescope-type images were displayed on the screen.

Before the program started, the instrumentalists assembled (drum, electric bass, keyboard), and the bassist was sporting a hazmat suit with a face-obscuring welding helmet ― to emphasize the “space” theme of the concert. Presently, the electric bass started playing, the lights dimmed and purple dots were projected on the ceiling to create an atmosphere for what was to come.

The audience was greeted by Jessilee Windhaus, who was serving as the producer of the concert. The enthusiasm expressed by those around me suggested that there were a lot of family and friends there in support of this new chorus. I noticed that no one seemed to have a printed program. Then among Windhaus' announcements was a mention that the program for the concert was online, and she quickly gave the address. I struggled with my iPhone for the next several minutes and was finally able to call the program up. I have to add that I think this is a great idea. Many choruses perform in the dark, and in that circumstance the light of a smartphone or tablet would be distracting for other audience members. But this concert was conducted in half-light, so I felt no compunction about referring frequently to the program on my phone as the concert progressed.

In a few moments there was a brief segment of “Thus Spake Zarathustra” from the soundtrack of 2001: A Space Odyssey, and the singers filed in. By my count, it was a chorus of 27 women of various ages, though most seemed to be young adults (late 20s to early 40s).  That was notable to me since so many of the choruses I see are populated by older adults.  The singers were all dressed in black, except for a few with accessories, such as a lighted necklace, a lighted hairpiece, a colorful scarf, etc.

(Click here to open the program in a new window.)

Artistic Director Heather Waid acknowledged the applause of the audience, and the concert began with “A Sky Full of Stars.” There are detailed notes for each piece in the concert program, so I won't try to repeat them. With this first piece first recorded by Coldplay in 2014, I realized that “pop” would include music introduced by popular recording artists over the last two decades ― music I'm generally unfamiliar with. As I recall, the singers performed the piece from memory and with a lot of enthusiasm, though I have to say that the choral sound was dominated by the amplified instruments.

Next on the program was Elton John's “Rocket Man.” For me, it was a toe-tapper that I enjoyed quite a bit. These first two songs seemed easy for inexperienced singers. Most of the rest of the program, however, seemed pretty difficult, and I periodically detected singing that seemed a bit ragged. But let's be charitable: this is a group that emphasizes fun and a learning atmosphere. Also, it was obvious to me that these people had put a lot of hard work into preparing this program, and as they sang, they were putting their hearts into every piece. I surmised that they relished the opportunity to sing music that had become familiar from their listening to recording artists. Now they were able to turn loose, singing for themselves with instrumental support, harmony ― and an audience.

Check the program notes for insights into the next 3 songs. I don't have the vocabulary for putting them in contemporary music categories, but I experienced them as rock music with strong beats, and that even applied to “Fly Me to the Moon.”

More than half the songs in this concert were arranged by Artistic Director, Heather Waid. No surprise there, since one wouldn't expect to find commercial arrangements of this contemporary music for a treble choir. Prior to this evening, I had known Waid as a talented and versatile pianist and singer. Now I can add arranger and director. Clearly, she is a multi-talented musician who is comfortable with many styles of music, and her rapport with these singers was evident.

The 15-minute intermission came after just a half-hour of music (5 songs). My sense was that none of the audience left, and the animated conversations I observed in the crowded venue suggested that the “happy hour” spirit was still going strong.

The first selection after intermission was “Space Cowboy.” A few other pieces had minimal accompaniment, but this was performed a cappella.  As it progressed, though, the output of the drum became more pronounced. This was clearly the chorus’s favorite piece, and they had a lot of fun with the refrain: “Why-yi-yi-yippie-yi-yay-yippie-yi-yo-yippie-yi-yay.” Among the several solos was a rap solo that really got the audience charged up. So it was no surprise that there were cheers to accompany the enthusiastic applause when the song concluded.

“Space Oddity” was David Bowie's 1969 song inspired by 2001: A Space Odyssey, and it was another piece with a strong accompaniment from the electric bass. In contrast, “Gravity” was accompanied only on the keyboard. I found it melancholy and introspective (see the program for confirmation), and as the chorus performed it, I was aware of moments of excellent intonation and harmony.

“Counting Stars” seemed to be another favorite of the singers. The chorus was in a good balance with the instruments, and their singing demonstrated how much they enjoyed what they were performing. And I believe their handling of the rhythms and good articulation of the lyrics made the song especially enjoyable for the audience.

The concert concluded with the cute and bouncy “Cheer Up,” after which Waid thanked the singers and instrumentalists, giving a special nod to Emily Perez, who had been playing the keyboard and who, along with being Managing Director of the choir, is a co-founder of Empire Arts Collective.

The next term of the Empire Pop Choir will begin after the first of the year. Check their website, www.empireartscollective.com (and get on their mailing list) for start date, theme and other details. Although only women participated in this past term, I understand that men are welcome, too. If you join the next term or attend the next concert, you'll sing music or hear music with this choir that you won't sing or hear elsewhere (at least in choral form). And you'll have fun doing it!