Without doing anything different, except for appearing on the nationally televised talent hunt America’s Got Talent, Tim Hockenberry finds himself poised on the verge of something big. The first of two warm-up shows for his big moment was a sellout replete with newfound young fans squealing on cue at big moments during songs they’ve never heard and probably don’t understand (thank you, American Idol).  Hockenberry was in fine form, appropriately self-deprecating, bringing his newborn child onstage for a look-see, and backed by his longtime pals, guitar wiz Tal Morris and drummer Vince Littleton.

Hockenberry’s voice was in excellent form and his song selections always eclectic. His choices run the gamut from crowd favorites, like the Grateful Dead (“Franklin’s Tower”) to Steely Dan (“Any Major Dude”) to the Beatles (“Girl”). He can reach to the depths of emotional despair on Leonard Cohen’s haunting “Hallelujah,” Stevie Wonder’s scathing “All in Love Is Fair” and Tom Waits’s “Jersey Girl,” then rock an R&B groove like no one’s business on “You Can Keep Your Hat On,” “Happy Together” and Dylan’s “Like a Rolling Stone.”

A songwriter as well as accomplished musician, Hockenberry writes about his great passion for the women in his life. “Carrying You” was written for his daughter, Lola, “Come On Let’s Dance” for new partner Bronwyn, and the heartbreaker “Make Me Understand” for love lost.

The goal of winning America’s Got Talent, besides a boatload of cash, is a chance to headline a show in Las Vegas. If America saw what we all witnessed last night, Hockenberry would win hands down. He’s got the whole package—charm, looks, the voice and the smarts he’s honed from years of dues-paying. Hockenberry may achieve the success and fame all performers desire, and it couldn’t happen to a nicer guy.

Steve Murray
Cabaret Scenes
July 21, 2012
www.cabaretscenes.org