by Tyler Glover
“Wicked” is one of the most successful Broadway musicals of all time. The musical, with lyrics and music written by Stephen Schwartz and book by Winnie Holzman, tells the story of Elphaba, the Wicked Witch of the West, and Glinda before the events of the 1939 classic film, “The Wizard of Oz.” It is based on the best-selling novel by Gregory Maguire and won three Tonys and seven Drama Desk Awards upon its premiere in 2003. The original cast album also won a Grammy.
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I was lucky enough to see a touring production of “Wicked” in 2012 at the Robinson Center Music Hall in Little Rock, Ark., and fell completely in love with it. It truly takes the audience on a magical journey. With “Wicked” being such a beloved Broadway production, it was not long before a movie was announced. The movie has been in the works for years with multiple delays, most recently due to the COVID-19 pandemic. However, this week, the wait is over. The film is directed by Jon M. Chu, with Cynthia Erivo and Ariana Grande in the starring roles. Anticipation has been high, and early reviews have been overwhelmingly positive. I can hardly wait. That is why I am channeling all of my excitement into ranking all 17 of the songs from the hit Broadway musical. Some of the rankings were difficult but there was a clear number 1! Without further ado, here are my rankings for “Wicked.”  
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1. “Defying Gravity” 
For me, there is no other option for No. 1 on a list ranking the best songs in “Wicked.” “Defying Gravity” is the finale for Act 1, and it is a show-stopping tour de force from Tony winner Idina Menzel. This song alone could be why she won the Tony for Outstanding Lead Actress in a Musical. The song occurs right after Elphaba and Glinda learn that the Wizard is a bad guy. Glinda tells Elphaba that she could have all she wanted if she didn’t “fly off the handle” and would play by the rules of the Wizard and society. This song has a powerful message because Elphaba could take the easy way out and get what she wanted. However, she decides to fight for the common good and for those who can’t stand up for themselves. She is going to go against what society expects. It is such a courageous thing for anyone to do in life. “Defying Gravity” is truly an inspiring song that has transcended musical theater and become a popular song in pop culture, even being sung on the hit Fox show, “Glee” in 2009. The song ends with Elphaba declaring, “No wizard that there is or was is ever going to bring me down.” Elphaba inspires us all to stand up for what is right, even when it is not popular or easy.  

2. “For Good” 
“For Good” is the most emotional song for me in the entire “Wicked” soundtrack. This song is sung towards the end of the production, where Elphaba and Glinda reflect on their friendship and their journey together. The song immediately grips you: “I’ve heard it said that people come into our lives for a reason bringing something we must learn.” It progresses with these friends saying they do not know if they have been changed for the better, but they have been changed for good. It truly is a beautiful thing in this world to have a relationship with someone who makes us question why we believe the things we believe, do the things we do and take different paths in life. We can have some of the same beliefs, but we may have to take different routes in the world because of who we are. The song ends so sweetly, with them acknowledging that they believe they were changed for the better by knowing each other. It is such a touching, emotional, beautiful and moving song. It makes us reflect on those relationships in our own lives that have changed us.  

3. “Popular” 
“Popular” is easily one of the most ... um, popular songs in the “Wicked” soundtrack. The song truly makes the audience fall in love with Glinda and shows us what kind of person she is. While Glinda is shallow and vain in ways, she also has a huge heart and can be a great friend. She is also hilarious. The original portrayer of Glinda, Kristen Chenowith, expertly introduces us to this character and masterfully mixes humor with show-stopping vocals. “Popular” is sung right after Glinda and Elphaba return to their dormitory from the dance. Glinda has decided to give Elphaba a makeover. Elphaba doesn’t think it is necessary, but Glinda responds, “I know. That’s what makes me so nice.”  “Popular” is one of the songs you want to add to your Spotify playlist after leaving the theater. There is no list of the best songs from “Wicked” where “Popular” should not be near the top.
 
4. “The Wizard And I” 
“The Wizard And I” is Elphaba’s “I Want” song in the musical. It is where we truly learn what our protagonist wants from life. Elphaba desires to work with the powerful Wizard of Oz. She wants to be known as someone who does good throughout Oz. At the beginning of the song, Madam Morrible, who works closely with the Wizard, recognizes Elphaba’s talent and sees its usefulness for the Wizard. The song captures Elphaba's optimistic and positive outlook at the beginning of her journey. We learn that she did not want to be wicked or even to be viewed that way. In fact, it was quite the opposite. This song gets the audience in anticipation to find out what went wrong and why things didn’t happen the way Elphaba wanted them to. The song ends with a truly showstopping moment where Elphaba sings: “The Wizard and... IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII.” This song highlights Menzel's powerful voice.  

5. “Thank Goodness” 
“Thank Goodness” is the opening song to Act II of “Wicked.” During this song, the citizens of Oz are taking a moment to celebrate even though the Wicked Witch is still loose and on the run. This song is easily in the top five for one main reason … Glinda is in a relationship with Fiyero, but he doesn’t truly love her. He is with her but longs for another. Glinda reflects on the fact that she “couldn’t be happier because happy is what happens when all your dreams come true.” Her dreams did come true but knowing that she doesn’t have Fiyero’s love bothers her and makes her realize that sometimes you need to be careful about what you wish for. Your happily ever after may not be what you expect. This song is powerful in its message and gives us all something to think about. That truly is what great Broadway songs do for their audience. They make us truly ponder and apply human experience in our lives.  

6. “I’m Not That Girl”  
“I’m Not That Girl” is one of the saddest songs in the entire musical. If you have ever loved someone you cannot be with, this song is for you. Elphaba is so in love with Fiyero, but she recognizes that she is not the typical girl he would go for. She believes he would go for what society deems the perfect girl for him: her friend, Glinda. This is one of the best songs of unrequited love in all music. It manages to bring tears to your eyes. This song helps us gain insight into Elphaba by looking at our lives and thinking of the people who wouldn’t choose us despite our undying love for them.
 
7. “Dancing Through Life”  
“Dancing Through Life” is one of the only songs where the main cast gets to sing together, making it one of the best songs in the musical. The song begins with the newly arrived Winkie Prince, Fiyero, telling everyone at Shiz that they shouldn’t care so much about school and focus on living the “unexamined life.” The song's overall message is universal to all of us today. We all need to not be so bogged down by the stresses of the world and the expectations of people; we need to focus on being happy. So many things happen in this song, but the most notable thing is Glinda gives Elphaba a hat, knowing it will embarrass her at the school dance. Elphaba sees it as a nice gesture and wears it. However, everyone laughs at Elphaba upon arriving. Galinda’s dream is to be a sorceress and she is gifted a wand by Madam Morrible, upon Elphaba’s suggestion. Glinda immediately feels guilty and starts dancing with Elphaba on the dance floor and everyone joins in! It leads to such a sweet moment that leads to the beginning of Glinda and Elphaba’s friendship. This song is well executed because it entertains us and holds our attention as many storylines progress. “Dancing Through Life” gives “Wicked” the perfect full ensemble song for the cast, making it one of the best in the production. 

8. “No One Mourns the Wicked”  
“No One Mourns the Wicked” is the opening song to the Wicked production. Schwartz expertly orchestrated the overture that leads into this song to immediately draw us all into Oz's magical world. This song introduces us to Glinda, who has just arrived in Munchkinland to celebrate the death of the Wicked Witch of the West with the Munchkins. They sing: “Goodness knows the wicked die alone.” Glinda starts to question whether people are born wicked or if they have it “thrust upon them.” This song also introduces us to the story of Elphaba’s life before she became the Wicked Witch of the West. The Munchkins end the song strongly by repeating, "No one mourns the wicked!” and that her death is “Good News!” However, after seeing this production and going for a repeat viewing, you learn that Glinda loved her but has to appear happy about her death because Elphaba believed that if she tried to clear her name, the citizens of Oz would turn on her, too. Elphaba’s love for Glinda was so great that she didn’t want that for her. The overwhelming shouting of the Munchkins over Glinda trying to give Elphaba some benefit of the doubt is a metaphor for how the world is today. People will believe what many people believe even when it is not true, and voices can be silenced that dare to challenge it. 

9. “What Is This Feeling?” 
“What Is This Feeling?” is one of the first songs in the musical and takes place shortly after Elphaba and Glinda meet for the first time. Elphaba and Glinda have gotten off on the wrong foot and have been assigned to be roommates in the Shiz University dormitories. Glinda is a shallow girly girl who wants to wear pink, and Elphaba is a tomboy who cares deeply about others. This leads to them clashing severely in the beginning. This song is one of the more playful songs in “Wicked.” We get a montage of Elphaba and Glinda doing pranks on each other. This part of the production reminds me of the 1998 film, “The Parent Trap.” The twins, Hallie and Annie, both portrayed by Lindsay Lohan, get off on the wrong foot and do pranks on each other before becoming friends and learning they are long-lost twin sisters. This song is basically that ‘Parent Trap’ moment set to music.

10. “No Good Deed”  
“No Good Deed” is one of the genuine powerhouse performances in “Wicked” and comes at a pivotal game-changing moment for Elphaba. Elphaba tries to stay true to herself and do the right things even though she has been painted as a villain by Oz's true villain. She has not let it get to her until now. Elphaba feels that nothing ever works out even though she has had the best intentions. Her lover is being tortured, her sister is dead, and her favorite professor is captured. Elphaba now decides that she will never do another good deed again. It is perceived by many as the most powerful and emotional song in the production.

11. “One Short Day”  
“One Short Day” is sung by Elphaba and Glinda as they enter the beautiful Emerald City. While they are taking in the city with its dress salons, libraries, palaces and museums, they feel it is a place where they could belong. “One Short Day” feels like it was written to pay homage to “Merry Old Land of Oz” from the classic 1939 film, “The Wizard of Oz.” In the classic movie Dorothy, the Scarecrow, the Tin Man, the Lion, and Toto take in the beauty of the Emerald City as the song “Merry Old Land of Oz” is sung. So, essentially, they are both songs that talk about how magical the Emerald City is while they are taking it all in. “One Short Day” has catchy lyrics and is the kind of song you can have stuck in your head if you listen too much.
 
12. “As Long As You’re Mine” 
“As Long As You’re Mine” is the fourth song in Act II. It is a duet between Elphaba and the man she loves, Fiyero. They sing this song after running away from the Wizard. It is a sweet song where Elphaba and Fiyero realize their love for each other may not be how they want it to be. It may be moments since Elphaba is a fugitive, but they soak in the time they get together. It is sad to love someone and know that you can’t have the relationship go the way you want it to. I think that is why this song is so romantic. They make the most of what they are given. My favorite moment in the song is at the end, where Fiyero asks her what is wrong, and Elphaba says: “For the first time, I feel ... wicked.” It is a moment that makes the audience laugh. It is ironic, though. Elphaba has been proclaimed the Wicked Witch of the West by the Wizard and Madam Morrible, and this moment in Act II is when she feels she has actually done something that people could claim is “wicked.”  

13. “Something Bad” 
Professor Dillamond tells Elphaba that he hears of bad things happening in Oz. Animals are starting to be discriminated against and not allowed to serve in their professions anymore. Elphaba expresses her belief in the Wizard and declares that is why there is a Wizard. They can get him to help. The song’s production has such an eerie feeling to it. Even when they try to be optimistic about the bleak circumstances in Oz, the production gives us the sense that the optimism is unfounded and that bad things are coming. There are several short songs in “Wicked,” but this one is the most successful in accomplishing its task. It sets the stakes for Elphaba and lets us all know that her mission will be so much bigger than her. She is in a fight for the greater good. 

14. “March of the Witch Hunters” 
“March of the Witch Hunters” reminds me of “Kill the Beast” in Disney’s 1991 classic “Beauty and the Beast.” In “Beauty and the Beast,” the townsfolk are storming toward the castle to kill the beast they have been conditioned to believe will kill them and their children. In “March of the Witch Hunters,” the people of Oz are marching to kill Elphaba, the Wicked Witch of the West. We get insight into the Tin Man and the Lion's grudges against her. While it is a great song, it is just not one of the best in the show. When you think of music from “Beauty and the Beast,” you think of the title song, “Be Our Guest,” and “Belle,” your mind will not immediately go to “Kill The Beast” as one of the best songs in the movie. The same concept applies to “March of the Witch Hunters.”  
 
15. “Wonderful” 
“Wonderful” is a song at the beginning of Act II where Elphaba has returned to Oz to help imprisoned flying monkeys escape from the Wizard. However, she is caught, and the Wizard gives us insight into how he came into Oz. He blew to Oz by chance and he became hooked on the respect and admiration he received from everyone there. The Wizard knows that he needs Elphaba to be successful, so he tries to convince her to join him again so that she can be “wonderful” too. However, Elphaba won’t do it. This song feels like a continuation of “A Sentimental Man.” They could have combined these songs. I think the writers wanted to add some foreshadowing to the central plot twist during Act 1 instead of waiting until the beginning of Act II to foreshadow this game-changing twist. That is honestly the only reason these songs weren’t combined. The songs say the same things, but “Wonderful” gives more insight than “A Sentimental Man.” Sometimes, in movies, shows or musicals, the villain songs can be some of the best songs in the productions. In “Wicked,” this isn’t the case.  
 
16. “ A Sentimental Man” 
“A Sentimental Man” is one of the last songs sung before the intermission between Parts 1 and 2. Elphaba and Glinda have journeyed to the Emerald City to meet the Wizard. They are shocked to discover that the Wizard is not as scary as they expected him to be. Elphaba is there to ask him if he will help her with the suppression of the animals that is becoming widespread throughout Oz. The Wizard believes that “everyone deserves the chance to fly” and wants to help Elphaba if she will help him. Shortly afterward, though, Elphaba learns that the Wizard is behind the suppression of the animals. Honestly, I feel this one-minute and 15-second song only exists to foreshadow a significant plot twist to be revealed later in Act II. I understand why they put this foreshadowing moment into a song. I think it brings the audience’s attention to the fact that this may add up to something before the show ends. It just does not feel like it even comes close to comparing to other show-stopping songs and performances in the musical.  
 
17. "Dear Old Shiz"
The second song in “Wicked” called “Dear Old Shiz” is my least favorite song in the production. At just one minute and 24 seconds long, the song begins shortly after the Munchkins have celebrated the death of the Wicked Witch of the West with Glinda. One of the Munchkins asks Glinda if they were friends. Glinda tells them that their paths did cross at school at Shiz University. Shortly after, cast members sing the Alma Mater to the school, essentially this song. It isn’t a bad song at all, but it lacks the emotional depth, complexity and gravitas that many of the other songs encompass in the production. Imagine comparing your school’s alma mater to “Somewhere Over the Rainbow,” which explains why this song is the last one on my list. 

by Julian Spivey

​It was a night filled with nostalgia for American Aquarium frontman B.J. Barham on Monday, November 18, at the White Water Tavern on the corner of West 7th St. and Thayer.

Barham has told the story many times at White Water Tavern and other venues around Little Rock that the White Water Tavern took a chance on his band when they were just starting out nearly 20 years ago, and it’s become something of a home away from home for them.

This man absolutely loves the place. After all, he’s mentioned it or written about it in at least three songs I know of: “Katherine Belle,” “Bigger In Texas,” and “Rattlesnake,” all of which the band performed on Monday.

It didn’t take long for me to realize it would be a night filled with nostalgia for the band and its longtime fans, some of which Barham pointed out had been coming to the one-room bar venue to see them play for as long as they’d been coming. It was noticeable due to some of the deeper cuts the band hasn’t broken out as often in concert – one or two of which I don’t think I’d ever seen live before.

The band performed 24 songs in a fast-paced one-hour and 45-minute set, with half of the tracks from the 2009 album Dances for the Lonely and the 2012 album Burn. Flicker. Die. The more recent albums since Barham got sober and reformed the band with all new members for 2018’s Things Change only featured five songs during the evening, even surprisingly, the band’s latest release, The Fear of Standing Still, which saw “Crier” open the evening and “Head Down, Feet Moving” performed.

The White Water Tavern show wasn’t originally scheduled for this leg of the band’s tour but was a surprise addition that made it the group’s 18th show in consecutive days, with the tour beginning (at the Rev Room on Nov. 1) and ending in Little Rock. As someone who had attended the Rev Room show, I could tell by Barham’s voice on the first song that it was a bit worn from so many shows, but thankfully, he doesn’t have the kind of voice that is impacted much by such things. I swear A.A. is the hardest-working band in the world of independent music, and the intensity they give at every show is so high that I can’t believe they’re still standing after 18 straight dates. I figured the band would be done for 2024, but the day after the show, they posted 15 shows in 16 days, beginning November 30.

The show Monday night was a raucous, good time had by all, as you could tell from the sweat dripping down the backs of Barham and lead guitarist Rhett Huffman’s shirts and the intensity of the band feeding off the crowd and vice versa.

It was nice hearing some songs I haven’t heard often live from the band, like “PBR Promenade,” “Saturday Nights” and “Good Fight.”

And, as always, it was a ton of fun rocking out to the usual anthems the band performs nearly every night, like “Casualties,” “Cape Fear River,” “Losing Side of Twenty-Five” and “St. Mary’s.”

I think the band officially has one of my favorite one-two punches to end a show with the crowd-pleasing sing-along “I Hope He Breaks Your Heart” leading into “Burn.Flicker.Die,” which is probably my favorite pre-2018 A.A. song. It’s the perfect way to end a night of wonderful rock music in a small crowd full of people sharing a love for the power of song.
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The Tortured Poets Department by Taylor Swift (Album of the Year)
My favorite nomination from the 2025 Grammy nominations is definitely Taylor Swift’s eleventh studio album, The Tortured Poets Department getting into Album of the Year. Swift won this category this past February to become the artist with the most AOTY wins in Grammy history. This is her seventh nomination in this category, making her the most nominated woman in the category in Grammy history. Before this nomination, she was tied with Barbra Streisand for the record. The Tortured Poets Department became the second best-selling album in its debut week ever (2.6 million copies), only bested by Adele’s 25 (3.38 million). Swift only has eleven albums, seven of which have gotten into Grammy’s biggest category. That is a pretty remarkable feat. She is the biggest pop star of our time, and I am so happy the Recording Academy didn’t let fatigue set in, which I was a little worried would happen. She has been everywhere over the past two years. The Tortured Poets Department is a slow-burner album you grow to love more over time. TG

Short n’ Sweet by Sabrina Carpenter (Album of the Year)  
Sabrina Carpenter has had a killer year. She released the Song of the Summer: “Espresso” and followed quickly with two other hits, “Please Please Please” and “Taste.” During one week of the Billboard Hot 100, Carpenter held three of the spots in the Top 10 for these hits. That isn’t where it stopped, though. Carpenter’s entire album, Short n’ Sweet, was released on August 23rd and became a massive hit on the Billboard charts, but it also proved Carpenter was a pop star arriving at her moment of true superstardom. This is one of my favorite nominations because I wanted people and the Recording Academy to acknowledge that Carpenter wasn’t just successful with singles but with an entire album. Her songs “Bed Chem” and “Juno” went TikTok viral. They are also two of my favorite songs from the album. The entire album is a no-skip album. I was so excited for Carpenter getting her due for a truly spectacular year. She is an artist I am really looking forward to seeing what she does next. TG
 
“Good Luck, Babe!” by Chappell Roan (Record & Song of the Year)
This has truly been a year where women have kicked some serious butt in the music industry. Taylor! Beyonce! Sabrina! Ariana! Billie! Charli XCX! Then, my next favorite Grammy nomination was for the insanely talented Chappell Roan. A few months ago, multiple Swiftie friends at work told me I had to listen to her. They said, “If you love Taylor, you will love Chappell.” I finally decided to give her a chance and fell almost instantaneously in love with her music. She is probably the favorite to win Best New Artist at the Grammys, and it would be a well-deserved win. This song should win Record and Song of the Year. I love the whole song production mixed with such rich and complex lyricism. My favorite lyric of the song is “You have to stop the world just to stop the feeling.” I feel people in our lives constantly want to tell us to get over things and ignore the fact that stopping ourselves from feeling certain things that we feel so strongly (especially love) is something that can take an entire lifetime to get over. Your death may be when you get over those feelings. I would not be upset if Chappell Roan’s album The Rise and Fall of a Midwest Princess took Album of the Year either. TG

eternal sunshine by Ariana Grande (Pop Vocal Album of the Year)
The biggest snub of the 2025 Grammy nominations was Ariana Grande’s eternal sunshine  not getting into the Album of the Year category, along with her hit “We Can’t Be Friends” missing Record and Song of the Year. “We Can’t Be Friends (Wait For Your Love)” went to No. 1 on the Billboard Hot 100 and was one of the year's best songs. It missing in the Record and Song categories was such a missed opportunity by the Recording Academy. What makes this nomination one of my favorites is that Grande was at least able to get into Best Pop Vocal Album for this album. It would have been criminal for Grande to get zero recognition for this album. TG
 
F-1 Trillion by Post Malone (Country Album of the Year)
I have only listened casually to Post Malone’s over the years. I wasn't hearing any of his work if it didn’t get into America’s Top 40 or on a hit radio station. Because of his collaborations with artists like Beyonce and Taylor Swift, I became really intrigued when I heard Post Malone was doing a country album. I had enjoyed Beyonce’s Cowboy Carter country album and wanted to give him a chance. The entire album is a no-skip album. Post Malone sounds like he has been doing country music his whole life. Multiple songs are so memorable that you want to go back to listen on repeat. One of my biggest criticisms of modern-day country music is that it fails to grab you and make you want to return for more. Post Malone nailed that. He collaborated with many country giants like Tim McGraw, Dolly Parton, Luke Combs, Brad Paisley and others. Some may be upset that an artist dipping his toes into the genre got into this category over people who have dedicated their lives to it. However, if it is the best that country music offers, it should be here and deserves to be here 100 percent.  TG

$10 Cowboy by Charley Crockett (Americana Album of the Year)
If you were to listen to Charley Crockett’s $10 Cowboy, Post Malone’s F-1 Trillion and Beyonce’s Cowboy Carter back-to-back-to-back and were asked which one of these albums is the most “country music,” you’d say Crockett’s. Maybe that’s why it’s nominated for Americana Album of the Year. The Grammy Awards are usually better at selecting country music awards than the mainstream country awards dedicated solely to the genre. But this year, the Grammys decided to go full-on pop with their selections. That might be why Crockett’s album was submitted for the Americana Album title. One of the year’s best albums in any genre, $10 Cowboy is filled with fantastically written country ditties like the title track, “Solitary Road,” “Spade,” “Hard Luck & Circumstances” and “Ain’t Done Losing Yet.”  JS

“Ain’t No Love in Oklahoma” by Luke Combs (Best Song Written for Visual Media)
Luke Comb’s “Twisters” song “Ain’t No Love in Oklahoma” was a shoo-in for this category for songs specifically written for movies and television, but I’m surprised it didn’t also crack some of the country genre-specific categories. Combs is one of the most popular country stars in the business, has a history with the Grammys and, frankly, I think this track – which was co-written with Songwriter of the Year nominee Jessi Alexander and Jonathan Singleton – is one of the best singles of his career. It’s also Combs at one of his most powerful, almost Southern Rock vocals. JS

“Break Mine” by Brothers Osborne (Best Country Duo/Group Performance)
I was genuinely disappointed by the Grammy country music genre nominations this year, but at least “Break Mine” by the brother duo Brothers Osborne, the best duo in mainstream country music over the last decade, was nominated for Best Country Duo/Group Performance. The song about needing someone to love, whether they’ll remain with you in the morning or not, to make it through the night is universal and T.J. Osborne’s vocals make you feel the longing in the lyrics. This is the 10th consecutive nomination in this category for Brothers Osborne, who won in 2022 for “Younger Me.” They’d have my vote this year, but they may not stand a chance in a category infiltrated by big pop names like Beyonce, Miley Cyrus, Noah Kahan, and Post Malone.  JS

“Ahead of the Game” by Mark Knopfler (Best American Roots Song)
Mark Knopfler has won four Grammy Awards in his career as a rock band Dire Straits member and collaborator with legendary country picker Chet Atkins, but those awards came more than 30 years ago. Now he finds himself nominated in a category that didn’t exist back then – Best American Roots Song. It’s the perfect category for the type of genre-less music Knopfler makes these days that often finds a home between country, folk and rock. “Ahead of the Game,” from his 2024 release One Deep River, faces some steep competition in the category from Shemekia Copeland, Sierra Ferrell, Iron & Wine and Aoife O’Donovan, but I like the living legend’s chances.  JS

“The Ballad of Sally Anne” by Rhiannon Giddens (Best American Roots Performance)
Rhiannon Giddens is one of the most talented vocalists and musicians in the American Roots genres, and her performance of the Alice Randall-penned song “The Ballad of Sally Anne” is sublime. Recorded for an album of songs written by Randall, one of the few African-American female songwriters in country music history, Giddens truly makes the performance of a song about the lynching of a black man—one that was originally recorded by white artists—her own. JS

by Julian Spivey

American Aquarium opened its November tour with a stop at the Revolution Room in Little Rock, Ark., on Friday, November 1, for a fantastic night of rock music.

It was a bit of a cathartic experience seeing the band, one of my favorites, just a few days before the Presidential Election, almost certainly the most important one of my lifetime, with songs like “The World Is on Fire” that speak on the choices this country has made in the past and the impact they’ve had on us.

Few songwriters these days are as empathetic to the plight of the American middle class as AA frontman B.J. Barham, who, as he says in his song “Tough Folks,” comes from a long line of Carolina farmers and writes music full of small-town life and the dark side of it.  

The band kicked off the set with “Crier,” the first single released off its latest album The Fear of Standing Still, which tells us all that it’s OK to be a crier but with the force of rock & roll behind it. We’ve all felt pain in our lifetime, and holding back tears can only lead to more of it.

The band would perform four songs from the latest album, which dropped in late July: “Messy as a Magnolia,” “The Curse of Growing Old,” and, my favorite, “Cherokee Purples.” Before “The Curse of Growing Old,” Barham told a touching story about one of his grandmothers and her 91st birthday, upon which she told him how much pain and loss she’s had to go through to spend more years with him. It immediately occurred to him that growing old can be a curse as much, if not more, of a gift.

As with any American Aquarium show, the band does a fantastic job at mixing in songs from its entire history and hit the Rev Room audience on Friday night with a mixture of new from albums like Things Change and Lamentations and old from Burn.Flicker.Die and Wolves.

The audience of loyal fans sang along with nearly every song the entire night, with performances of “Losing Side of Twenty-Five,” “Casualties” and “The Luckier You Get” among the crowd favorites.

One of the greatest live music moments I’ve ever been a part of is seeing the band wind down the main part of their set with the back-to-back performances of “I Hope He Breaks Your Heart” and “Burn.Flicker.Die,” which always seem to be the most raucous moments of the show. You’d honestly have to experience it to understand how great of a moment it is.

This is where the night took an unfortunate turn, though. I’m not sure if the whole audience knew what was happening, but those around the stage, including Barham on stage, were all too aware of it.

Following “Burn.Flicker.Die” the band left the stage to give Barham his usual solo spot of the show – a spot where he usually tells a beautiful story about something in his life that has inspired a song and then plays said song. Based on the original set list, which we were close enough to the stage to see, Barham intended to perform “The First Year” off the 2022 album Chicamacomico. He called an audible and decided to do the title track from that album, which is about a miscarriage he and his wife had and how it devastated them. He had gotten a handful of requests to perform the song. He tells this heart-wrenching, tragic story of the worst thing that’s ever happened to him and his wife and then performs the song. While telling the story and performing the song, solo, just his voice and guitar, an obviously drunk woman somewhere close behind where I stood, so near the stage, talked loudly throughout the entire thing.

Following the song, he thanked most of the audience for their cooperation and response to his sad story and song and said, “For those who talked through it, that was a choice.” Which was a far kinder way to handle the nuisance within the crowd than many musicians likely would have chosen. Still, based on the printed setlist on the stage, he decided to skip a second solo song and invited the band back to the stage early. I also believe this to be the case because the band didn’t seem to know they’d be returning so soon.

The band began to perform “Me + Mine (Lamentations),” another emotional, heartful performance, and the same drunken woman talked throughout it, as well, at one point causing Barham to shoot an annoying glare her way that might’ve knocked someone who wasn’t so oblivious to the ground.

The show ended with that song, despite a more raucous closing number, “Katherine Belle,” remaining on the printed setlist.

In my years attending shows, I’ve seen some pretty annoying and despicable behavior from drunk concertgoers, but I’ve never witnessed something as rudely infuriating as one talking through the most devastating song of someone’s career. I sincerely hope this doesn’t put Barham and the band off of coming to the Rev Room in the future.

The evening was opened up by the emotional songs of Ken Pomeroy, a 22-year-old Cherokee folk singer from Oklahoma whose beautifully written songs ache with the realism of someone much older. She’s undoubtedly going to be a singer-songwriter to keep an eye on.