Clint Holmes is 150% quintessentially SLAM BAM ALAKAZAM Las Vegas. Leading us loosely from inspiration to inspiration: Nat King Cole to Harry Belafonte (who is in attendance) to Sammy Davis, Jr. to Michael Jackson, Holmes detonates Feinstein’s. His deep, powerful baritone—accustomed to bigger rooms—bounces off the walls. Blaring sound design makes me feel like I’m at a rock concert. In encore-like number after encore-like number, he inadvertently hides the finesse of what later turns out to be not only a great set of pipes, but a good voice. The use of a synthesizer makes an indisputably polished act feel like a roadside attraction.

This is a showman. Holmes is intimate with a microphone and at home with patter. He delivers Marvin Gaye’s “What’s Going On” with every groovy knee-up swivel (the man can move!) and scats like a dream on “Bluesette” (Thielemans/Gimbel). A West Side Story (Bernstein/Sondheim) medley has dramatically interesting jazz phrasing and blessedly minimal backup, letting us hear control, depth and sizzle. Two of his own songs are artfully composed and performed with heart. Leonard Cohen’s “Hallelujah” is a vocally lovely anthem. Less successful are “Simple Song of Freedom” (Darin), which is so musically hyped it loses all sincerity, “Both Sides Now” (Mitchell), which is oddly staccato, and some pop songs.

An exuberant and extremely talented performer, Clint Holmes works like a stevedore. Though the show feels disjointed and dated, it brought the opening night crowd to its feet.

Jeff Neiman is Musical Director/pianist with Steve Blackstone on bass and Jess Gopen on drums.

Alix Cohen
Cabaret Scenes
April 19, 2011
www.cabaretscenes.org