It’s wild to watch an Idol contestant lose so much weight over the span of a few weeks. Caleb Lee Hutchinson, “Midnight Train to Memphis” I’m skeptical of the novelty she brings as a recording artist, but she understands (or at least thinks about) watchability as she shimmies across the stage.ġ0. The judges seemed to believe this was a “nervous” performance for Michelle, but I thought she proved to be one of the few people who understood how to fill the planetarium-size space with some grit and ebullience. She could perform tomorrow at the American Music Awards and the ghost of Dick Clark would not complain. With her enviable hair, rad stagewear, and Lovato-esque strut, she blends into the prevailing pop gestalt nicely. Michelle is one of the few contestants left who can be described as having The Look. This one is cute, though it’s less a raging fire and more a simmering hot plate. Garrett’s good at his zesty heartthrob strumming, but it’s never on the level of his competitors’ performances. Garrett Jacobs, meanwhile, has little in the way of artistic identity besides resembling a young Jesse Metcalfe (who is a VERY important public figure for those of us who came out in 2003). Here’s Garrett Jacobs covering Philip Phillips, as if to say, “Your older sister voted for this seven years ago and you should too!” Go with me on this one: Something is secretly lovable about Phillip Phillips? His voice may have had a kitschy gravelliness, but his sincerity and humor were palpable in his every performance. Don’t tell me you want to be inspiring! Just do it with great records and big notes and pissing off the Catholic Church with a risqué bed-humping scene on your Blond Ambition tour. She tries to recover after the fact by saying she wants to inspire young girls, but that’s not interesting either. Fortunately, Mara Justine is not generic, but her mid-song cry and her gasping passion falls so much flatter than any of her previous performances. These lyrics are … pretty generic for circus freaks? Real circus freaks would be way funnier in a self-penned empowerment anthem. It’s also the kind of song that gets too much credit for representing the little guy. “This is Me” is the kind of song that wins Eurovision: an empowering ballad with a big pop hook. I don’t even see him becoming all that comfortable with how big the room is. Panic at the Disco!’s “This Is Gospel” is not exactly a song you pick assuming you’re going to be the next American Idol, is it? I don’t see Jonny figuring this game out with inventive new moves to propel himself forward in the competition. Anyway, I remain a little baffled as to how Jonny landed in the Top 14 when he has neither the assured stage presence nor refined pop voice to make a career seem feasible. Who can I sue to prevent that cute overload from happening again? I was nearly maimed. Jonny Brenns’s opening package where he practices ballet with a bunch of little kids is criminally cute.
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