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I am still recovering from an incredible weekend of a cappella at the N. E. Voices festival. In its inaugural year, N. E. Voices included an adjudicated performance by nine high school a cappella groups, a full day of workshops led by some of the best in the business, and a culminating showcase concert featuring local pros Firedrill! and Pitch Slapped from the Berklee College of Music.
This festival was born out of less than ideal circumstances. Having performed in several regional tournaments over the last four years, my students and I found that our culture around competition needed some serious examination. Following a series of conversations about the merits and perils of competition in general, I asked them to consider taking a break from the competitive circuit while we reevaluate our priorities. Some were more than happy to oblige, but others were dismayed by the thought of giving up on a tradition that had motivated and challenged them for years. I asked them to go out on a limb with me, and to trust that if we let go of our familiar competitive routine, something equally worthwhile would come along.
Later that night, I emailed my friend Nate Altimari to rekindle a conversation that he had initiated months before about starting up a high school a cappella festival. At the time he first suggested it, I had been too focused on other projects to engage in the conversation, and so the idea fell dormant. This time, we were both motivated to see it come to fruition. Thus, N. E. Voices was born.
Planning the festival was a massive undertaking that was executed entirely via email, Google docs, and the occasional phone call. Dave Grossman of Plymouth North High School spearheaded an ambitious publicity campaign and managed our finances while Shannon Phypers of Marlborough High School coordinated an impressive array of workshops and masterclasses for the participating students. The event took place at Wilmington Middle School where site host Jason Luciana left no detail unaddressed in order to ensure that the weekend went smoothly.
There was no doubt that with an army of skilled a cappella singers, the two evening concerts would be nothing short of electrifying. But what truly made N. E. Voices special was the quality of the clinicians. The scope and sequence of the offered workshops far exceeded that of any a cappella event that I have witnessed. As I poked my head into session after session, I was repeatedly amazed and humbled by the quality of the teaching I witnessed.
Lo Barreiro (of Musae and The Vocal Company) led a masterclass that challenged and inspired my female group. Equal parts perky, demanding, and affirming, Lo held my students to the highest standards of musicality. Lo has mastered the delicate mix of critique and praise that motivate high school singers.
Ingrid Andress (of Pitch Slapped and Delilah) led a session on singing female lead, which brought up lots of strong emotions from the young women in attendance. Ingrid masterfully presided over a conversation in which students freely admitted to the jealousy and insecurities that can lurk behind the façade of even the most successful singing groups. She managed to both affirm the normalcy of these feelings and give guidance on the healthiest way to respond to them.
Jo Vinson, best recognized as the bass singer for Delilah on the The Sing Off, led a fascinating workshop on the art of singing bass. When I walked in, she had the rapt attention of a classroom full of boys (and one girl.) The fact that this festival was able to address the artistry of an often-overlooked vocal line was inspiring. The fact that a woman led the session was even more so. I watched with great interest as the young singers practiced the mechanics of tongue placement and mouth formation to achieve the optimal tone quality.
My coed group spent an invigorating hour with the members of Pitch Slapped, who took the time to break apart an arrangement, identifying problem spots and adjusting them in order to highlight the strengths of our group. One Pitch Slapped member spoke extensively about the use of imagery to enhance the emotional message of a song. She described the song in question as the soundtrack to a climactic – and ultimately devastating – moment of a love story. She spoke in such vivid detail that it brought tears to my eyes and forever changed the way my students will sing the song.
Boston-based group Overboard was well-represented at N. E. Voices, with Scott Cobban and Nick Girard leading workshops while Caleb Whelden tackled the mammoth task of running the sound system for the entire event. The men of Firedrill! not only put on a show that highlighted their vocal finesse but also led workshops (most notably, a popular series of vocal percussion sessions by Matt Wrobel.) Tyson McNulty (formerly of the MIT Logarhythms) coached students on arranging. Christopher Diaz brought his extensive understanding of the field and his characteristic warmth and charm, contributing sessions on songwriting and “A Cappella Groups You Should Know.”
And these are just the clinicians I saw in action.
Huge gratitude is also owed to Kevin Guest, Megan Alexander, and Rachel-Anne Minor who, for all of their assistance throughout the weekend, deserve the title of honorary board members.
The most gratifying part of the weekend was to witness the culture of enthusiastic, genuine support and collaboration among the students. Although the weekend began with a competition, what I will remember most is their enthusiasm for singing and learning. The moment that best expressed this feeling was when one of my students approached Jo Vinson to thank her for her guidance. “Never before has my life been altered by a singing workshop,” he told her. “You’ve completely changed my sound.” She extended her hand and thanked him for being a part of the weekend. He clasped her hand in his and bowed in gratitude.
Twenty four hours later, I am both exhausted and inspired. The first N. E. Voices festival was truly a highlight of my professional life.
