Billie Williams’s debut cabaret show is a mixed bag.  I’m impressed by her bold choices of blues songs, which aren’t your usual fare.  I always applaud the risks involved in a set list that includes more lesser- than well-known songs.

My problem with Williams is that there’s very little subtlety in her approach to songs.  She’s almost always at full volume.  Whatever vocal colors we heard didn’t really relate to the lyrics – they were musical choices, which did nothing to assist in telling the story of the song, and merely ended up with very odd punctuation of words or sentences.  She told us she wanted us to hear how “the blues” has influenced other genres such as jazz and rock ‘n’ roll and how, when putting her show together, she’d more or less thrown water onto the torch songs.  I think that was a mistake, because “the blues” is more than just singing loud, and having the odd soft syllable or phrase.  If nothing else, these songs are about telling a story, and stories always have highs and lows.  Overall, Williams’s show would greatly benefit from some quieter, more internal songs.  It’s a bit too “in your face” musically, which makes it feel very one-note.

That said, there are some moments of excitement. It’s also unusual to see a cabaret show with a six-piece band and, while one might fear there would be too much music, there wasn’t – it was balanced perfectly.  As I write, I wonder if Williams’s volume had to do with keeping up with her band.  Her opening number, Ruth Brown’s “Too Many Men,” is quite funny, and not knowing the song, I wondered how many gay men might like to have this song in their shows!  The best songs were those where vocal power worked in her favor.  “I Just Want to Make Love to You” and “Unchain My Heart” were my two favorite songs of the night.

A trio of backup singers, including the singer’s daughter, where brought on stage for the final three songs.  I’m all for family, but I question this choice, not because they weren’t good, in fact, their harmonies in “A Sunday Kind of Love” were terrific, but because this brings the show to a different place.

Williams was very well supported by Michael Roberts (piano), John Miller (bass), Frank Vento (guitar), Howie Gordon (drums), Kurt Bacher (sax/clarinet) and Marty Bound (trumpet).

The show continues for one more performance on June 15 at the Metropolitan Room.

Harold Sanditen
Cabaret Scenes
June 4, 2012
www.cabaretscenes.org