“We’ve swum through the mud together!” declared Barb Jungr victoriously, completing her set of songs about rivers. It’s rewarding to indeed hang in and hang on every word of her hushed, hypnotic reveries and laments and witness the exultant joy surging through her like a river, walking in strides as her voice whoops in “Feeling Good” (“…river running free, you know how I feel!...”). With pop, folk, blues and Broadway, she managed to sound authentic and comfortable in each genre, not dipping her toe timidly in the waters of foreign genres. So, she made me go with the flow. Although often kinetic—broad, frequent gestures, turning to different sides of the room with animated facial expressions, rocking with eyes shut—when she moved the least, she often can move us the most emotionally. What focus! She seemed to pull the audience in as she went inward. For example, starting a capella, arms at her side, eyes wounded, she found the essence of “Ol’ Man River,” without grandiosity, embodying the mix of acceptance and longing. Likewise, her laser beam, serious treatment of an old pop song, “Everything I Own” (David Gates), gave it new depth and fragility.

Controlled vocal tone and judicious use of vibrato brought out vulnerability and a deep well of feeling. Speaking between almost every song, often with enthusiasm and humor, Barb was at ease with the audience and eager to praise the writers, songs and sensitive pianist Simon Wallace. With bold choices and naked emotionalism, Barb Jungr is committed, commanding and compelling.

(Photo by Steve Ullathorne)

Rob Lester
Cabaret Scenes
March 5, 2010
www.cabaretscenes.org