Michael Mott and Friends
Feinstein’s/54 Below, NYC, October 15, 2016
Reviewed by Randolph B. Eigenbrode for Cabaret Scenes
Michael Mott prefaced the beginning of his recent songwriting showcase by saying he was skipping the musical theater tunes in favor of his pop and soul tunes. Indeed, Mott’s music has that time-tested catchy appeal that is intrinsic to the genre: uncomplicated lyrics, chord structures that the brain captures quickly and simple melodies.
But with an industry that has evolved into championing artists who don’t write in the A-B-A-B-C-A format and, moreover, seems to prefer music that isn’t melodically driven, relying more on sonic texture, where exactly do Mott’s songs fit?
His songs recalls album tracks of Carly Rae Jepsen—the critically lauded, but commercially troubled popstress—yet we also get hints of Jordin Sparks, Mika and Katherine McPhee: all artists who hit their stride a decade ago.
Most effective was “Genuine” with its Top 40 air sung by Natalie Weiss—always sounding great.
With Beyoncé-like gusto, she expertly attacked her signature clean riffs, balancing them with a smooth-groove vocal. Also compelling was the youthful and catchy “Euphoric,” originally written as a theme for a Disney TV pilot. Meana Torigoe, Dylan Bell and Lola Consuelos, looking every bit the pop starlets (next door), brought a joyous exuberance to the infectious hooks.
While all the singers held their own, the standout of the evening was Brad Greer. With a boyish charm, Greer brought to both of his songs a spot-on rhythmic delivery and ornamentation with clear, kinetic direction—furthering the build of the songs.
Music tastes shift briskly, but a great hook is always in style. For the future, Mott’s songs might be better served with less production so to better hear these musical motifs; so often it was busy and distracted from the melodies. Yet, from the vibe of the room and the progress in his songwriting from his last showcase, Mott shows great promise as a future Max Martin or Dr. Luke.
