Review of NUS Resonance Concert – ‘Next Stop: Forever’
On the night of 11 Jun 2016, I attended ‘Vocal Obsession VII – Next Stop: Forever’, a biennial showcase by my school’s premier acapella group, NUS Resonance. It was staged at the University Cultural Centre Theatre, a modest but intimate venue which can seat up to 455 audience members, including the elevated side galleries. The central seats filled up quickly, so I took my place along the right aisle facing the stage, midway up the main deck.
The theatre bustled with anticipation way before the concert began. The buzz was generated by large peer groups familiar with the student performers, and quickly put the smaller family and friend groups at ease. This was vital, as the seats were not only compact but also without dividers, which in most occasions might feel too close for comfort for many Singaporeans. The passionate atmosphere was fortunately matched by the air-con cool, allowing us to digest the informative song pamphlet and ensuring that we were all set when it finally hit 1930h.
The 22-song programme mainly featured popular hits from modern icons Bruno Mars and Taylor Swift, and pop groups Coldplay and Imagine Dragons. Despite an overriding pop flavour, the instantly recognizable and covered-to-death songs were shrewdly given new life by amalgamating hits. The show opened to a mashup of the King of Pop Michael Jackson’s ‘Bad’ and ‘Smooth Criminal’, ramping up the excitement levels as the performers would throughout. These performances juxtaposed the forcefulness of female vocalists with the insistent beats of male basses, highlighting their dynamic strengths as the floor literally vibrated in tandem. Such relentless energy fitted what I would identify as acapella.
Yet it was the deviations from pop which proved the most memorable. The third song – a cover of an acapella classic ‘Butterfly’ by Rajaton – was ironically a sheer delight; ironic as it refuted my impression of acapella. It featured a single female lead vocalist, and boy did I bathe in the euphony of her vocals. In contrast to the high-octane performances, ‘Butterfly’ shed off the usual edginess and tore down the divide between males and females, culminating in a very harmonious and soothing set of backing vocals that accentuated the female lead – in a light blue dress. This was by far my favourite song before the intermission.
Once the lights came on, the crowd started buzzing again. This was when I most appreciated the nature of this mature crowd: rapturous between songs but attentive during songs. I was in good company. An avid music listener but rare concert-goer, I was once again struck by the impact of live shows. Hall acoustics certainly play a big role, as the hard wooden walls reflect sound waves back into our ears, especially when I’m seated near the side walls. However, highly reflective surfaces usually emphasize higher frequencies and result in harsh, biting sounds (The Anstendig Institute, 1982). This may explain why more emphatic rhythms paled in comparison to the softer melodies, at least for me.
After the break, there was a noticeable increase in variety. A medley of nurseries was soon followed by ‘Eyes, Nose, Lips’, a Korean hit by Taeyang. But it was the all-male rendering of ‘I Wish’ by Stevie Wonder which caught my ear. It was the one occasion when male vocalists can take the spotlight, since females have higher vocal registers, i.e. higher frequencies, which were likely perceived more than in the original balance.
My longest applause, though, was reserved for the penultimate song. The cover of ‘Wolf and I’, by Danish singer-songwriter Oh Land, spanned over five minutes and might as well have gone on longer. The dreamy opening led into various overlapping melodies, culminating in a crescendo that chilled our spines. It was the undisputed climax of the night, even after accounting for the customary encore, which saw the entire cast return to the stage.
‘Vocal Obsession VII’ exceeded my expectations, as they exhibited the diverse potential of acapella. The lack of instruments can constrain possibilities, but this was more than compensated by the benefit of a large cast of vocalists, who can take endless combinations in ways which a small acapella group cannot. It was somewhat disappointing not to hear any Mandarin songs, and certain songs may come across as a tad jarring. However, the intimate atmosphere arguably accentuated the qualities of more melodious and pensive tunes. It was in these performances that I truly felt the resonance.
References
The Anstendig Institute. (1982). Concert Hall Acoustics: An Explanation of the Factors Involved in Acoustics with an Analysis of Those Factors In Relation to San Francisco’s Davies Hall. Retrieved October 21, 2016, from http://www.anstendig.org/Acoustics.html.
This was originally written in October 2016 as an assignment for the NUS General Education (GE) module, Science of Music. The 2017 concert – Are We There Yet? – has been sold out; hope everyone enjoys it!
