This Tuesday, the joint Ackerman and Kerckhoff buildings played host to one of the largest showcases of musical talent of the school year. Organized by the Student Committee for the Arts in conjunction with Associated Students UCLA, this event, titled Art in the Union 2013, offered four stages of live music exclusively featuring UCLA artists in four venues around the two buildings.
“An overarching goal of ours was to show UCLA students new and old the huge talent pool we have here that may go unnoticed without shows like these,” said fourth-year psychology student Emilie No, co-director of the event. No said that every performer, aside from the headliner Classixx, performed free of charge.
The evening began and ended in Ackerman Grand Ballroom, with an a capella showcase featuring five of UCLA’s premier a capella groups kicking off the festivities at 4:30 p.m., and Classixx ending the night at 11 p.m. Between this time, at 7 p.m, three stages, Kerckhoff Coffee House, Kerckhoff Grand Salon and Terrace Court Patio, hosted a variety of UCLA bands, groups and individual performers.
Art in the Union 2013 got off to a groovy start as Signature A Capella took the stage at Ackerman Grand Ballroom. The first of five a capella teams of the night, this all-female group began its set by taking the audience back in time to Motown with a soulful rendition of “Ain’t Too Proud to Beg” by The Temptations, followed by an equally soulful take on Whitney Houston’s “How Will I Know.” The mood was quickly spiced up as the women covered Backstreet Boys hit “The Call” with a punch of infectious energy and youthful attitude befitting the song and flipping its boyish nature on its head.
Medleys a Capella, a co-ed group dedicated to bringing its music to communities in need, followed with an interesting blend. Starting off with a faster, more hectic take on Justin Timberlake’s “Cry Me a River,” the group soon switched over to the deep, somber hymns “Carry On” by Crosby, Stills, Nash and Young and “Skinny Love” by Bon Iver. Medleys a Capella showcased a powerful harmony and background rivaling that of any band or instrumental.
After a brief 10-minute break, Random Voices, another award-winning all-female group, spared no time in warming up. Bringing the heat from the start with the intense “Bottom of the River” by Delta Rae, the group finished with a blood-rushing fusion of “All of the Lights” and “Love Lockdown” by Kanye West. The standout performer of the night was beatboxer Julia Ramos, who once again wowed the crowd with a charismatic mix of beats.
The Scattertones, fresh off of its victory at the “ABBA-Capella” competition at the Hollywood Bowl this summer, held its throne with the most varied set of the showcase. Its upbeat cover of Gotye’s “I Feel Better” got the crowd clapping while second-year vocal performance student Dominic Delzompo’s deep, smooth voice did a cover of Michael Jackson’s “Heartbreaker” that offered a refreshing contrast to the higher-pitched vocalists of the night. Third-year musical theater student Chris Meissner and third-year vocal performance student India Carney soon stole the show with crowd favorite “Thinkin Bout You,” with Meissner’s gentle yet strong voice paying due reverence to the heart-wrenching Frank Ocean hit single.
Bruin Harmony ended the show with their unique brand of charm, humor and lighthearted energy. After handing out a few complimentary Bruin Harmony koozies, the all-male group finished off with a time-tested favorite: its polished, charming version of R. Kelly’s “Ignition.” The most animated group to perform that night, Bruin Harmony exuded a sense of fun and camaraderie with their trademark “sexy” dance moves and general onstage demeanor, easing some of the intensity of the previous sets.
The Student Committee for the Arts’ Art in the Union concert series picked back up later in the evening, with three stages of live music featuring a number of UCLA student bands. Surrounded by the aroma of singer-songwriters, Kerckhoff Coffee House sported a lineup of acoustic vocalists topped off with a beatboxing finale.
Beginning the night in a light, ska-filled mood was the duo The Protagonist. Led by Brandon Bakhshi‘s haunting vocals and bright acoustic guitar and accompanied by the violin playing of fourth-year musicology student Connor Vance, the duo began the night with a cover of “Sweater Weather” by The Neighbourhood. The arrangement utilized the band’s folk-ska sound with a mix of twangy guitar and melancholy violin under Bakhshi’s soulful vocals. Despite the set only lasting two songs, The Protagonist began the Kerckhoff Coffee House stage’s set on a laidback note.
The second act of the night on the Kerckhoff Coffee House stage was Courtney Randall, a fourth-year psychology student and singer-songwriter who has won numerous Spring Sing awards. Randall’s bright and brokenly played acoustic guitar continued the mellow atmosphere that seemed to fit right in with the coffee house setting. With a voice that clearly has traveled, but still has roads left to take, Randall’s set was full of pop songs that highlighted her soulful voice, bringing the emotion out with every note.
The final set in Kerckhoff Coffee House was an act unlike the previous ones, with a performance by third-year mechanical engineering student Moonsoo Jo, better known by his stage name Beat Rhino. With an impressive speed that flew past the front rows of the audience, Jo’s inventive beatboxing style quickly became a crowd favorite. The charismatic and commanding performer Jo used his set as an exhibition of just what his own vocal chords could accomplish. From covers of “Rack City” by Tyga to “Started From the Bottom” by Drake, with animal impersonations in the middle, Jo was an exciting act that turned the quiet evening of singer-songwriters into a bumping dance hall, if only for a few minutes.
Over in Kerckhoff Grand Salon, the medley set list saw student bands, including Rocko’s Modern Knife and We The Folk, taking the stage in front of a growing crowd. The concert provided a lineup of amplified and foot-stomping music that saw students dancing along.
Opening the show was fourth-year ethnomusicology student Teira Church, backed by a jazz quartet of double bass, keyboards, electric guitar and drums. The singer opened her set with a cover of TLC’s “Waterfalls” that provoked a responsive and enthused crowd, though low in number. The jazz and funk-filled rhythm section brought Church’s powerfully emotive voice to the center of the salon.
Following Church, the show was taken for a grunge trip, embarked by Rocko’s Modern Knife, the duet of crunchy guitar riffs played over pop, up-tempo drums. The garage rock sound to the band, coupled only with the rushing drum rhythms, got the crowd in a dancing mood. The fearless vocals were reminiscent of a simplified and equally powerful Sonic Youth. The up-tempo set drove along as Rocko’s Modern Knife saw growing crowds filing closer to the stage of Kerckhoff Grand Salon.
Taking the evening in a different direction was Prince Ali, who provided crowds with an R&B; funk sound that immersed the night in even more diversity. With a funky rhythm section and jazz-filled drums, the moving and interpretive vocals highlighted the soulful sound of the music. A combination of soulful and sensitive melodies brought the crowd huddled up to the stage. At points, the sound approached that of a cliche R&B; group, but the strong emotional presence of the vocals proved the band had originality. Its final song, accompanied by a saxophone immersed in the front rows of the crowd, only affirmed this.
The final act of Kerckhoff Grand Salon was We The Folk, true to its name with violin, acoustic guitar, double bass and accordion sounds. Beginning with a cover of “Toxic” by Britney Spears, We The Folk portrayed a high-energy and active show. Though the five members may have been in close quarters, they projected a rhythmically exciting show, centering around the beat of the cajon. The screaming, pop vocals created a clean atmosphere of folk-style pop.
Coming out onto Ackerman Terrace, it would be difficult to tell that a concert was about to begin.
A few people milled around setting up amps and instruments on a short makeshift stage as a handful of people sitting at the tables seemingly went about unrelated business.
As the first band, The Kids in Detention, began its set, the crowd seemed to scream “bad event publicity,” consisting solely of event staff and other waiting bands. However, The Kids in Detention did not seem to care, actually embracing the intimate atmosphere. Its playing epitomized the relaxed summer scene with prominent, jazzy bass playing, steady drums and sexually, yet subtly, charged lyrics.
The lead singer even casually joked with the crowd that his last song’s guitar riff was “kind of how it sounds to make love.” As if drawn to the playful lyrics and catchy drums and bass, the crowd slowly trickled onto the terrace, bobbing along to the beat.
The show’s energy quickly picked up when The Street Hearts took the stage and began a simple folksy tune.
Providing a stark contrast to The Kids in Detention, The Street Hearts were imbued with eccentricity. Their instruments were completely unconventional, consisting of a banjo, upright bass, piano and guitar.
As the band crooned through “Ain’t No Sunshine,” the crowd immediately perked up as Sarah Summers picked up the second verse with her sultry voice, reminiscent of Regina Spektor. The Street Hearts knew how to play a crowd, inciting audience members to clap along to their mix of folk, country and jazz tunes.
Following the folk styling of The Street Hearts, Owl Fly South took the stage to an awaiting crowd. The band’s half-garage rock and half-psychedelic rock inverted for the 21st century brought attention to the UCLA band. Frontman and alumnus Braeden Henderson displayed soft vocals, turning the show into a runaway of rock ‘n’ roll sounds. The bright keyboards and hard drumming created an atmosphere that welcomed Owl Fly South’s rock sound.
Finishing up the night was The Wes Coast, which presented heavy ska rock to jumping and dancing crowds. The solid rhythm section pounded away as the loud and present bass created a funky backbeat behind the Long Beach-style mix of ska rock. The Wes Coast brought a light-hearted, yet purposeful ska sound that saw the loudest and largest outdoor crowd of the night. Putting an end to the four stages of live UCLA music, The Wes Coast left the crowds ready for the rest of the night, which included a DJ set from Classixx.