Taking contestants from a reality show on tour is risky business. The American Idol Live show at Mohegan Sun on Saturday demonstrated the unique perils and pleasures of watching new artists. For every performance that blows you away, another seems only half-baked. The first half of the show, featuring the bottom half of the contestants, was like watching a romantic comedy: familiar, pleasant and slightly unengaging. The performances were good, but each lacked something that kept it from being extraordinary.
Most of the songs performed have come out in the past year or so, and a few choices were downright perplexing: Thia Megia sang Selena Gomez’s “Who Says” a minor hit that sounded childish and poppy and vastly underserved her voice. A more amusing choice was Casey Abrams’ version of “Harder to Breathe” by Maroon5, whose lead singer, Adam Levine, judges that other singing competition.
There were charming spots: Abrams and Haley Reinhart brought out their much-lauded “Moanin’“ late in the first half. Janelle Monae’s “Tightrope” made the short jump to a Motown girl group number, which Reinhart showed particular skill in. Naima Adedapo had an energetic dance break, but set it to her version of judge Jennifer Lopez’s forgettable “On the Floor.” Paul McDonald’s own puppet-with-its-strings-cut dancing during “Maggie May” was oddly endearing and fitting with his slightly pinched rock voice.
But few of the performers knew how to work a stage. The lack of polish put a damper on what was otherwise a strong night, vocally speaking.
Pia Toscano, a favorite on the show who was cut early, showed off a beautiful voice but was absolutely wooden onstage. Most of the show, her expression was more “take-the-picture-already” weariness than “singing-to-thousands” delight. She soared through “Empire State of Mind” and seemed a little more relaxed and lively while singing her first single “This Time.” But her “California King Bed” duet with Stefano Langone lacked the tiniest bit of chemistry, though Langone would later bring his sex-symbol A-game in an average but effective version of “DJ Got Us Falling in Love.” It followed a more impressive “Grenade” that almost-but-never-quite reached the intensity of Bruno Mars’ original. Luckily, the second half picked up. The set was schizophrenic, packing rock, pop, soul and country into just over an hour. But the performances showed why these were the ones to beat.
Jacob Lusk and Lauren Alaina proved they were born to the stage. Lusk showed the most charisma onstage, dancing from one side to the other and playing to the crowd. Ar the end of “You’re All I Need to Get By,” he built the energy up to a crescendo, did an awesome run, and comically collapsed to the stage.
Alaina brought the country sass in post-intermission opener “Flat on the Floor.” Throughout her set, she easily and confidently worked the stage, nailing impressive notes without overplaying it (well, too much).
Reinhart took a different approach. She threw down sultry, melisma-laden versions of “House of the Rising Sun” and “Bennie and the Jets.” They were incredibly impressive, but instead of showing the emotion of the song, she showed the emotion of singingthe songs. It’s a subtle difference, but it can be a deadly one. Still, she showed that she has quite a voice, and knows how to use it.
But the crowd’s love for her was nothing compared to the reaction when James Durbin took the stage- or, more accurately, the arena floor. As the first chords of “Sweet Child O’ Mine” rang out, the arena exploded. He brought his mohawk and his hard-rock-lite swagger to the stage and brought much of the house to its feet. His version of Muse’s “Uprising,” went over just as well, but felt discordant. The song needs Matthew Bellamy’s jaw-clenched intensity, and Durban brought, oddly, too much musicality to it. And a golf club, which only looks “hard rock” if it’s smashing into something.
But the crowd belonged to Scotty McCreery, the season’s winner. McCreery is a contradiction; Josh
Turner’s voice trapped in Opie Taylor’s body. He even covered Turner’s “Your Man,” a great choice for his rich voice. He was calm on stage, still even, but never seemed disengaged or uncomfortable. It was just the feel of cool, genuine country, and especially after a night with more than a little showboating, it felt like a welcome break.