Life is good for Sam Harris at the moment. A new child, a longtime relationship, projects in the works, and devoted fans called "Harrisites." He certainly has the vocal chops, a soaring tenor that won him Star Search many years ago. While likable and funny, Harris tries way too hard at his show, overselling most numbers with similar high note endings that wear thin after prolonged use.

There were a couple of songs dedicated to his new son, "Mockingbird" and "New Words," the latter a sweet ballad that was one of the few unforced moments of the show. His blues numbers (Jimi Hendrix's "Red House," Harold Arlen/Ted Koehler's "The Wail of the Reefer Man") almost sizzled, but the showy affectations blunted the required emotional punch in the gut.

Twice Harris lost the lyric to a song, once in the beautiful song of unrequited, "I Can't Make You Love Me," which ironically, was one of the truest moments of the set. Harris can sing a relaxed ballad and this is where he shines. "I Love You More" from his CD, Free and his encore, Lennon/McCartney's "In My Life," were tender, understated and genuine. Those moments were quickly overshadowed by over-the-top renditions of his signature "Over the Rainbow" and "Bridge Over Troubled Water."

Like clockwork, people cheered after each high note, and I thought about the state of music in this cookie-cutter American Idol age. Have we all become conditioned to respond to a high extended note and a big, fat finish? Or is this just the popular style and the cynic in me just doesn't buy it. Harris started the trend way back in 1983 and has made a career out of it, so who's crazy?

Steve Murray
Cabaret Scenes
May 8, 2009
www.cabaretscenes.org