American Idol: Big Mike Lynche's Big Moment

TRANSITIONING FROM THE girls' performances Tuesday night over to the boys' on Wednesday has the feeling of ambling into a fifth-grade talent show after watching Cirque du Soleil. Some of the women have been so good and the men so middling that I can't help but wonder what brand of disappointment will greet me.

Although I suppose a little deflation is better than what the contestants themselves must confront as the show begins: in their faces is Seacrest's face as he walks melodramatically up to each of them, turns, stares like that creepy guy on the Metro and says their name. We can only hope that he didn't have tuna for lunch.

Also, has anyone else noticed that Seacrest seems unable to keep his hands off poor little Aaron Kelly? If this was a traditional office, he'd have such a sexual harassment suit on his hands. Maybe he should just start tickling him instead; that seems to be in vogue these days.

It's another one-hour, eight-contestant show, so the amount of horseplay is kept to a delightful minimum. Except for this little exchange:

» SEACREST: Can I ask you guys a question seriously, because I was reading the e-mails: Why are you so close to each other this year?

» KARA: He's leaning on me.

» SEACREST: Are you leaning on her?

» KARA: I feel like it's separation anxiety maybe because you're not with your fiance? [nudging unbearably close and looking at Simon with puppy-dog eyes] Whaddya think?

» SIMON: So I'm leaning into you?

» KARA: Definitely.

» SIMON: Yeah, right.

» KARA: You are completely leaning into me.

» SEACREST: I think Kara's your binky.

» KARA: Oh! [laughs]

» SEACREST: What's a binky?

» SEACREST: I'll explain in the next commercial.

Fascinating. A pertinent question, a pointless answer. Now, on to the performances.

The players: Todrick Hall, Aaron Kelly, Tim Urban, Lee Dewyze, Michael Lynche, Alex Lambert, Casey James and Andrew Garcia.

The songs: More random whatever!

The mood: A little creeped out.

LEE DEWYZE
He sings "Fireflies" by Owl City. Which I originally wrote as Open City, which now has me craving an omelette. Silly brain.

I like Lee's voice. I don't like that song very much. And the combination of the two leaves me feeling a little meh.

It's a poppy tune, and it's certainly a current tune, which seems to be more important to the judges than it does the people who buy music, given how popular classic rock and artists like Alison Krauss continue to be. But the performance as a whole feels like it's all air and no substance — even a happy song has to have some kind of concrete feeling behind it (like, um, happiness). And all I get from Lee is a strong sense at the end of the song that he's relieved that the performance is over.

"For me, it was a strange song choice," Randy says. "There were a couple little pitch problems here and there, but you really kinda made it your own. ... You worked it out."

"I like that you made it a little rock," Ellen says. "I think that a lot of people like you."

"You look confident tonight," Kara says. "That's what we've been waiting for is for you to step up. ... I think you actually made the song a better song."

"There's nothing to rave about after that," Simon says. "I don't think you had a moment with that song. ... I actually think you are better than the version of the song you just did, I genuinely do."

ALEX LAMBERT
He sings "Trouble" by Ray LaMontagne. And I don't hate it. I'm so surprised to not hate it that I rewind my DVR and watch the performance again just to be sure.

I don't know what happened to Alex, but it didn't happen a moment too soon.

That's not to say that his performance is good. He's still so wooden on stage that I spend much of the time he's on camera looking for his friend the dancing cricket. But where his performances before were atonal wrecks, this one is measured, reasonably paced and competently sung. Although, oddly enough, that tone in his voice I used to like is starting to get on my nerves now that he's actually able to do something with it. Ironic.

"I think it was a good song choice for you," Randy says. "I liked it, I just wasn't jumping up and down."

"You're becoming a mushy banana," Ellen says. "Every single week you get better and better and better."

"The only thing standing in the way of you winning is you right now," Kara says. "You are still stiff, and you're not in it, and you're not letting go up there."

"I think you've kinda got to get yourself mentally somewhere else," Simon says. "We've never ever seen you relaxed and having a good time. You need to think of Randy in a bikini or something."

Or not.

TIM URBAN
OK. If there is one song — just one — that I would like to forever banish from "American Idol" it is "Hallelujah." It's a gorgeous song — beautiful in its instrumentation, piercing in its lyrics; raw emotion captured in verse. It's a Leonard Cohen masterpiece given new life in the '90s by the late Jeff Buckley.

It's been tried so, so many times on this show by so, so many unworthy singers, and I want to see each one of them fed to the lions after they mangle it.

Or maybe forced to spend an hour in the House or Senate gym. Although if I were them, I'd choose the lions. Seriously, watching our lawmakers fight over legislation clothed can be disturbing. I don't want to know what a naked quorum call looks like.

Anyway, Tim, sigh, sings Buckley's version of "Hallelujah." And it's a little like listening to David Cassidy sing it, in that it's sung reasonably well, but that it lacks any soul.

It might be Tim's best performance, although I'll deliver that pronouncement as bloodlessly as he rendered one of the best songs I know.

"One of the greatest songs ever," Randy says. "You walked in some pretty big shoes and I think you did a pretty good job, Tim."

"Every week I feel like I've been so hard on you," Ellen says. "I have to do this right now." She runs up on stage and hugs Tim. "That was fantastic!" she says.

"I thought you were going to be going home a few weeks ago," Kara says. "And now I actually think you're kinda in it, and you may just about be in the top of the boys right now. That was an honest interpretation."

"I kind of feel responsible for you doing well tonight after what I said," Simon says. "This week, very, very smart with that song. ... It's not the best version I've ever heard, but for you it was very good."

ANDREW GARCIA
He sings Christina Aguilera's "Genie in a Bottle." And it's official. Andrew peaked early.

During a quick interview in Coke Corner, Seacrest brings up "Straight Up" — the Paula Abdul song that Andrew performed to accolades during Hollywood Week. Ever since, the judges have pined each week for something just like "Straight Up."

This week, Andrew gives it to them: "Genie in a Bottle," performed exactly the way he sang "Straight Up." It's kind of like telling someone that you wish they could make a cobbler the way they make a salad and having them hand you fruit with ranch dressing on it.

Andrew's got a good voice, and I think this kind of performance — solo with an acoustic guitar — does, as Kara would put it, show us the kind of artist he wants to be. And he makes for a lovely pony, but it seems like we've already seen his one trick.

"I like the cardigan, though, you know," Randy says. "It's a good idea ... it didn't quite work for me, dude. ... You made us feel like the whole song was three notes."

"I thought it was a great song choice," Ellen says. "At the end is when you really surprised us, and I think the genie came out of the bottle too late."

"You're in a hard position because you peaked so early," Kara says. "I can appreciate what you did tonight, but you were fighting with the rhythm of the guitar. ... It just wasn't great."

"For me, it really came over that you've been trying to work out what you should be doing ... it was a little bit desperate, I thought," Simon says. "You've got a good voice, you're a cool guy. But you're kind of still going backwards at the moment."

CASEY JAMES
He sings "You'll Think of Me" by Keith Urban. And I like it.

It's a muted song, which gives his vocals only certain moments to shine, but in each moment they can, they do. But what really makes the performance for me is how Casey emotes with the song, how he connects with it. Its the first performance so far this episode that's seemed genuine.

"I think it was a little bit of a safe choice for me," Randy says. "I feel like you've got more of an edgy Stevie Ray kind of thing."

"I thought it was great," Ellen says. "You're more comfortable sitting on a stool and playing guitar and that feels like your kind of vibe fore me."

"I'm kinda back on the Casey train," Kara says. "It was honest, you're sitting down, you're doing what you do best. ... I'm missing that spark."

"I would say it was your second-best," Simon says. "I think it made you sincere. ... You sounded great, I have to say."

AARON KELLY
He sings "I'm Already There" by Lonestar. His voice is strong, although not always without pitch problems. It's an OK performance, but I have two issues with it.

1) The content of the lyrics: A kid his age singing a song in which the narrator talks to his kids is a little strange, since for Aaron to have kids who are able to have a conversation with him, he'd have had to become a father at 12 or 13. Which isn't impossible I guess.

2) Aaron seems to be charisma-impaired. He'd seem to have the whole package — he's young, he's cute, he has a good voice — but there's something about him that hasn't so far allowed all of those pieces to add up.

It's fine, but it certainly doesn't excite me.

"You've got the makings of a great, man," Randy says. "I thought this was really good, right. ... Job well done, still some work to do, but job well done."

"I love you," Ellen says. "I think you've sounded better. ... I think that was too much song for you."

"You're in it, and I can feel that," Kara says. "But that song ... it's not relevant to your life."

"If it's any help, Kara, I think what you've said is utter rubbish," Simon says. "It wasn't a great vocal, but what it did have was it had emotion, and I could tell you were trying hard. ... But if we keep going down this road — you can't do this, you can't do that — we're going to confuse these people so much."

TODRICK HALL
He sings Queen's "Somebody to Love." And what a polarized performance it is.

The first 20 seconds or so are horrendous. Todrick's voice is thin and awful and the backup singers are poorly modulated. Ugh, ugh, ugh. But once Todrick finds his sweet spot, it's not an unpleasant performance. Very few people can do a Queen song justice, and Todrick's not one of those few. But he comes pretty close — if you lop off the beginning of the song, that is.

"Todrick is back!" Randy says. "What you did just there is you proved you can really sing."

"You are a brave, brave young man," Ellen says. "It was almost, it sounded like a gospel song. ... You did a good job."

"You can't listen to that and say that wasn't good season," Kara says. "There were moments there where I didn't know whether to laugh at it or love it. ... But the singing was good, I've gotta say."

"I would say it was good in parts, not the whole way through," Simon says. "You're a Broadway singer ... I see you more as that than a recording artist. ... It was a good song choice, and it may have saved you, that song."

MIKE LYNCHE
He sings Maxwell's "This Woman's Work."

The first five seconds make me fear that something untoward has happened to Big Mike's, um, anatomy — it's perhaps the highest-pitched sound I've ever heard a guy that size make. Which makes me think I'll dislike the song, or that an ambulance might have to be called to the "Idol" studios.

But then, the Usher-like neo-soul starts, and Big Mike sets down one heck of a groove. His histrionics on stage are distracting — a soul seizure, perhaps? — but his voice is pure and clear, and you sure can't argue with that massive, skyscraping note at the end of the song.

Bravo, Big Mike. You just flayed the competition.

"Dawg, yo," Randy says. "Really? Really, really? I've got to give it to you again, man — this is crazy. ... The last note, for you to hit that chord? ... That was hot."

"One of my favorite songs, and oh my God," Ellen says. "That was so beautiful. It feels like the show just began. You're the one to beat now. The show just began."

And speaking of histrionics ...

"I've never cried after hearing something like that," Kara says, blubbering. "It's amazing, you're amazing."

"This was so needed tonight," Simon says while consoling a still-crying Kara. "You come out with an incredibly difficult song to sing and you 100 percent nailed it. Not just the best performance of the night, it was the best performance we've had of all these live shows so far."

High praise from Mr. Cowell, although I don't quite agree that it's the best of the season. Crystal Bowersox, meet the competition. If, of course, Big Mike can sustain this level of quality.

FEARLESS PICKS
Big Mike's the big winner tonight by a mile. But here's how he and the rest stacked up, in my opinion.

Best of the night
Mike Lynche
Casey James

Middle of the pack
Lee Dewyze
Alex Lambert
Tim Urban
Todrick Hall

Danger, Will Robinson
Andrew Garcia
Aaron Kelly

Who should go home: I'm honestly not sure. It was such a ho-hum show, aside from the finale, that it frankly wouldn't bother me if any of these guys went away, aside from Big Mike, Casey James and Lee Dewyze.

I think Alex is safe based on his improvement and continued politicking from the judges. I think Todrick performed well enough to save himself, although he's still in the danger zone. I think there are folks — including the judges — who'll buy what Tim was selling; and he still gives away the pretty for free.

That leaves Andrew and Aaron. They're not bad performers, but they have yet to have a wow moment in the live shows. I think their time is probably up.

However, I think we could be in for a surprise this week. A big showing by the otherwise middling Big Mike has offset the guys' equilibrium, so it's possible, I think, for almost anyone to be voted off. Which should make Thursday night's results show mighty compelling. Aside from the dance number, that is.

» COMING UP: We find out which four contestants head home Thursday night, leaving us with the top 12. I'll have a recap for you bright and early on Friday at ExpressNightOut.com/idol.

Till then, what did you think of the night's performances? Did Big Mike blow you away, or were you not so impressed? Which guys do you think won't survive the week? Don't be shy, join the discussion in the comments section below.

Photos courtesy Fox

Posted By Greg Barber at 12:00 AM on March 11, 2010 Tagged in Arts & Events , Idol Chatter , Television

Comments (0) | Archive