Good evening, ladies and gentlemen, and welcome to tonight's live blog of the 2019 NightBEAT drum corps competition webcast, presented by FloMarching! My name is Kevin Gamin, Managing News Editor of Drum Corps Planet, and I will be providing you with live commentary of all of the performances tonight. The broadcast starts at 6 PM Eastern and will feature eleven of the current top thirteen DCI World Class drum corps, as well as an exhibition by the North Carolina A&T University Drumline!

”I can count and the mic works!” - Steve Rondinaro

I don’t normally comment on the non-drum corps performances during these live blogs, but the North Carolina A&T “Cold Steel” Drumline is amazing.

First on the field tonight is the Spirit of Atlanta from Atlanta, Georgia. Here is their 2019 program information:

• Show Title: Neon Underground
• Music Repertoire:
  • "Krump" by Scott McAllister
  • "You and Me" by Eliza Doolittle
  • "Attraction" by Emmanuel Sejourne
  • "Color Wheel" by Arch Echo
• Description:  "By opening a new door, we can be drawn into a mysterious and exciting experience, a Neon Underground. Strangers move together and apart. They dance in the dark, creating curiosity and intrigue. The ritual is engaging, the crowd is diverse and carefree. The club scene takes us from small inviting groups to feverish crowds to explosions of energy and chaos. It’s more than an underground party: It’s a glorious adventure of sight and sound. The music drives movement and dictates interactions. Private moments are shared even in this unconventional and large crowd. Dancers find one partner and share intimate moments. As the music slows, life slows with it. Lingering dances become captivating. When the music picks up, the crowd blends together again in a bouncing blast of colorful neon. As the music ends, it’s time to leave this electrifying world behind and return to reality."

Ah, so they really do call back to last year’s show, complete with knock on a door and a member coming through in last year’s uniform.

The opener, Krump, is very angry and intense. It goes well with the opening look of the corps, although I can’t imagine how hot they are right now since the sun is still beating down on that turf field.

You And Me presents a different mood as well as a different look. Opening with a brass trio on the stage set up behind the pit, this is much more introspective and laid back.

During the climax of the song, the guard is on wonderful bright swing flags, filling the field with color.

Percussion feature opens the third movement of the show. The sections make great use of the stage, which also intersperses them among the pit.

Horns back in. This is the most jazzy selection of the show, very upbeat and syncopated.

Great body movement by the horns during this park and blow section!

Also nice use of the delta in their last drill formation before coming forward and blowing us down with sound.

Nice touch after the show is finished is the bass cadence Spirit plays as they leave the field.

Next on the field is Phantom Regiment from Rockford, Illinois. Here is their 2019 program information:

• Show Title: I Am Joan
• Music Repertoire:
  • "Carmina Burana" by Carl Orff
  • "Audivi Media Nocte" by Oliver Waespi
  • "Zohar" by Jonathan Leshnoff
  • "Fire of Eternal Glory" by Dmitri Shostakovich
  • "Lady McBeth of Mtsensk" by Dmitri Shostakovich
  • "Vox Populi" by 30 Seconds to Mars
  • "Unleashed" by Two Steps from Hell
• Description: "In a time when the world needed someone to stand up, hers was the voice that ignited change. The 2019 Phantom Regiment celebrates bold, empowered women and the spirit of revolution through the lens of Joan of Arc, one of the world’s most prolific independent women. Sometimes when you are willing to stand alone, the whole world will listen."

Opening dancer for Phantom gets one heck of a workout before the show even officially starts. My muscles hurt just watching.

Great stylized cross formation to end the Carmine Burana intro to the show.

Trumpet section now getting a workout to open the next movement of the show.

In fact, every section’s fingers are moving fast during this first movement. I’m kind of afraid to see the sheet music. That’s a lot of black on the page.

Fire of Eternal Glory. A quick pit intro before handing off the melody to a small brass ensemble just inside the 30 on side 1. Guard on the right side of the field providing the visual, though the corps slowly re-enters the field. The ensemble is drowned out by the percussion as the war comes to the field.

Phantom’s drum line is very strong this season, and the scores have reflected that.

After building up to an impact, a mello soloist on one of the backfield props reprises the Carmina Burana melody before the corps returns to Fire of Eternal Glory. Half the corps is in the black corps uniform, the other half in the white and tan peasant tops.

The horns in black form a shield on the field with the white and tan horns forming a cross emblem.

The Vox Populi vocals are chanted by the corps on the field and also sampled from a recording of the corps members taken before the start of the season.

One more reprise of Carmina Burana before a big finish with the horns hitting the classic PR chevron formation.

Next on the field is the Blue Stars from Lacrosse, Wisconsin. Here is their 2019 program information:

• Show Title: Call of the Wild
• Music Repertoire:
  • "Concerto No. 4 in F Minor, Op. 8, RV 297, 'Winter'" by Antonio Vivaldi
  • "Symphony No. 1" by Pyotr Ilyich Tchaikovsky
  • "Dance Panels" by Aaron Copland
  • "Sora" by Yoko Kanno
  • "Avalanche" by Jim Wunderlich, Rick Barclay, Matthew Hernandez
  • "The Great Thaw (Reprise)" by Frode Fjellheim, Christophe Beck

Pre-show narration, appropriately enough, is from Jack London’s “Call of the Wild”.

As the narration completes, brass soloists on sled props open the show for real.

How heavy are those costumes, by the way? It’s only 7, after all, so the sun is still out on a July evening in North Carolina. Not exactly conducive to an outfit designed to at least look like we’re in Alaska.

After the opening brass intro, the drum line is featured with Vivaldi’s Winter movement from The Four Seasons.

Blue Stars brass really shines during Copeland’s Dance Panels. This selection really exposes the brass with isolated melodies passed between the various sections.

Serious fast paced drill ending in a tight block formation is always fun to watch, Blue Stars.

During Sora, the ballad of the show, base camp is set up with large orange tent props along the back perimeter of the field.

This is quite a world spanning musical rep - Composers from Italy, America, Russia, Japan, and Norway, not to mention the original Avalanche composition written by the corps designers.

Seriously, I get jealous of the Blue Stars guard every time they get to slide down the mountain prop on the right side of the field.

Second percussion feature, bringing the drum line up past the front side to the right of the pit. In your face, indeed.

Baritone section with a wonderful tone on their unison feature opening The Great Thaw.

Blue Stars guard is WORKING IT on flag during the closer. Also, the color scheme of the guard outfits and the flags match perfectly during this segment of the show.

New ending brings back the narration from Call of the Wild.

Next on the field is the Cadets from Allentown, Pennsylvania. Here is their 2019 program information:

• Show Title: Behold
• Music Repertoire:
  • "Fanfare for the Women" by Libby Larsen
  • "Just" by David Lang
  • "Blueprint" by Caroline Shaw
  • "Dance No. 1 from the Estancia Orchestral Suite" by Alberto Ginastera
  • "Bridge Over Troubled Water" by Paul Simon
  • "Do Better" by Tom Aungst, Omar Carmenates, and Brandon Carrita
  • "Symphony No. 4" by David Maslanka
• Description: “'Behold is, by definition, a command for respect and is often used to introduce something remarkable or impressive. The design team wanted to honor the remarkable story of resilience, strength, unity, and healing for The Cadets and for all women in our activity and our country, as we celebrate the 50th Anniversary of women in The Cadets in 2019,' said Darcie Aungst, Program Coordinator. 'I was intrigued by women in history who lead entire nations as far back as Ancient Egypt and Rome; often pondering the question, what happened? Why in 2019 is it a struggle? This show explores that history and those questions. Behold tells a tale of female strength and leadership, the ugliness of jealousy, discrimination, and power when it is held over others. The show points triumphantly to images and sounds of true equality and opportunity for everyone regardless of gender, race, orientation, identity, or ethnicity. Shattering the glass ceiling opens opportunities for everyone who has been told they are ‘less than’ and leaves our world a better place for future generations.'”

Major color palette changes with the painting of the staircase props and the change of the queen’s dress to match the colors of the guard uniforms and stairs. Very royal, indeed. Also, the corps proper now has hats with plumes, adding to their visual as well.

They’ve also changed how the queen is “deposed”. No more dress tearing, though she still loses the fight for her scepter.

Now, the common rabble are in charge, and the music reflects that change, becoming very percussive and raucous.

The scepter is now getting tossed around between members. Whoever holds the scepter is in charge, but nobody hangs on to it long enough to bring order.

Tubas with a great low note! Also, did I just hear a minor version of the Doxology from the brass?

Blue drop sashes now appear on the corps as a vocal sample of the opening verse from Bridge Over Troubled Water plays. Horns take over the melody and two of the staircase props are pushed together to form a bridge on the field. This also gives a stage for the the guard to come spilling out from in a flash of color.

Our deposed queen has returned, wearing a blue cape which matches the flags and the drop sashes.

Slight rearrangement of Bridge getting us to the solo scream section of the song quicker.

Guard equipment is now different colors, some blue, some pink. 

Percussion feature during Do Better makes great use of staging. Tenors, for example, set up on a raised platform behind the pit.

Return to the Doxology, this time much more uplifting and positive.

New ending to the show as well.

Next on the field is the Blue Knights from Denver, Colorado. Here is their 2019 program information:

• Show Title: ...I Remember Everything
• Music Repertoire:
  • "Sudden Throw" by Olafur Arnalds
  • "Liquid" by Jay Bocook, Kevin Shah, Mike Jackson
  • "Hurt" by Trent Reznor
  • "Lonely World" by Moses Sumney
• Description: "We are a sum of our memories. Some we accept, celebrate, and cherish. Others we may want to put behind us. Some make us proud. Others give us pause. Some are just glimpses, faded images filed away from a distant time. Others so vivid and powerful that we carry them with us every minute of every day. This can be said of us as individuals, as a community, as an activity. The stories we tell, the dreams we have, and art we create all point to our never-ending desire to live moments worthy of our short time here. We find comfort knowing that we can create memories for ourselves and those we love through a relentless pursuit of a shared vision. No matter how small or insignificant we all may feel, we can all know that we played a role in creating a sliver of essence within each other. Ultimately, this show is a collection of the shards and pieces of memories, inspirations, ideas, reflections, and visions of the people who design, create, teach, serve, and perform at the Blue Knights."

I really love how the head DM wears a past Blue Knights uniform as part of the show theme.

Narration and ethereal music from the pit to open the show.

Unintended visual effect - Lines of light reflected on the field by the mirror props. Actually very cool to see.

Soloists set up in each bank of mirror props, adding to the audio effect of the intro.

Drum line also doing a great audio effect, performing a roll while doing a 360 rotation front then back, all while moving around the field in a tight formation.

The narration throughout the show is from the 2015 short film Ellis, starring Robert De Niro. Ellis refers to Ellis Island and the movie is from the perspective of one immigrant’s early years coming to America.

You may also recognize this selection, Liquid, originally used by the Cadets in their 2005 championship production.

The music becomes much more introspective with Hurt. Horns move backfield and play backfield as well, with a flugelhorn soloist playing the melody.

Excellent pitch bend from the middle horns.

Great contrast between the ballad played by the horns and the percussion.

Trumpets and mellophones with a really great feature coming out of Hurt and into Lonely World.

Guard flags are a bright color palette, literally, on the stark backdrop of the corps uniforms.

Next on the field is the Boston Crusaders from Boston, Massachusetts. Here is their 2019 program information:

• Show Title: Goliath
• Music Repertoire:
  • "Enough of Our Machines" by Son Lux
  • "Everybody Wants To Rule The World" by Tears for Fears
  • "On The Shoulders of Giants" by Peter Graham
  • "Giant Steps" by John Coltrane
  • "My Shot" by Lin-Manuel Miranda
  • "Fanfare for Rocky" by Bill Conti
  • "Once Upon a Castle" by Michael Daugherty
• Description: "The Biblical account of David and Goliath is a classic lesson of courage, wisdom, and perseverance. Today, the phrase 'David and Goliath' refers to an underdog scenario; a competition where a smaller, weaker opponent faces a much larger and stronger adversary. Through careful planning and enormous human will, the 'David' character finally defies overwhelming odds to emerge victorious. The Boston Crusaders display and develop the inherent drama and emotion of this underdog story. Drawing on familiar themes from literature and film, contrast and scale literally and figuratively set the stage for this epic portrayal. The 2019 production delivers a powerful combination of variety and conceptual continuity while guiding viewers through the life-long process of innocence, preparation, and conflict to arrive at the ultimate moment of truth."

This may be the first time we’ve had Biblical quotes overplayed with hip-hop.

Opening brass is now backfield, which really allows for the buildup into the first impact of the show.

Opener is also tighter from a design standpoint, getting right into On The Shoulders of Giants much quicker and improving the momentum of the show early on.

Nice drill move by the trumpets and mellos! Block formation moves forward while the inner part of the formation rotates.

Flags have large gold silks, perfect match to the gold elements in the corps uniform.

My Shot as the percussion feature really gives the drum line a chance to ram hard core on this Colin McNutt book.

The herald trumpets and trombones on the Rocky fanfare is one of my favorite musical moments of the season, followed quickly by the mash up of Rocky with My Shot.

Concert euphonium and French horn duet on Everybody Wants To Rule the World. I’d love to hear more of them. They really play well.

Goliath REALLY can move on those stilts, but points to David for the rifle toss OVER Goliath while diving between Goliath’s legs.

Also, we’ve learned from past shows, beheadings make for great GE.

We are on intermission until 8:35 PM when the Cavaliers will take the field.

Next on the field is the Cavaliers from Rosemont, Illinois. Here is their 2019 program information:

• Show Title: The Wrong Side Of The Tracks
• Music Repertoire:
  • "Gorgon" by Christopher Rouse
  • "Bum's Rush" by Donald Grantham
  • "Rock Island, 1931" by Thomas Newman
  • "Party in Steerage" by Mike McIntosh & Cliff Walker
  • "Cathedral" by Thomas Newman

“THEY’RE ALWAYS READY!!!” Count - 2 so far tonight.

Cavaliers do NOT waste time, hitting us in the face with Gorgon after just a brief opening narration.

Great close formation kaleidoscopic drill during that opening statement as well. Very Cavaliers.

Trombones up on top of the train trestle/stage prop. Rest of the brass down below in front of the trestle. Great brass moment.

After the end of Gorgon, snares and tenors race across the field. Snares play an intense part while the tenors give the audio effect of a train chugging across the field.

Brass trio set up back field. 

Tenor section really lets loose during their feature. Serious visual flair from the snares as well.

Pit now having their “hold my beer” moment in response to the 2014 marimbas. Seriously, how often does one play on the back side of the marimba?

While there are plenty of references to trains throughout this show, the focus isn’t on trains themselves, but the idea of coming from the “wrong side of the tracks”. This is accented by the influence from and quotations, both musical and verbal, pulled from the movie Road To Perdition.

Man, I get worried when I see rifles flying all over the place, but it’s not like they’re throwing them at where people are standing.

Next on the field is the Bluecoats from Canton, Ohio. Here is their 2019 program information:

• Show Title: The Bluecoats
• Music Repertoire:
  • "A Day In The Life" by The Beatles
  • "I Want to Hold Your Hand" by The Beatles
  • "Eleanor Rigby" by The Beatles
  • "Within You Without You" by The Beatles
  • "Blackbird" by The Beatles
  • "Come Together" by The Beatles
  • "I Want You (She's So Heavy)" by The Bealtes
  • "The End"
• Description: "From the cacophony of the 1960s rose the one band to rule them all - The Beatles. The famous foursome not only shaped music history, but also informed the rapidly changing cultural landscape around them as the band evolved from their teeny-bopper roots to the revolutionary social awareness, psychedelia, and musical experimentation of their later work. Throughout their meteoric rise - from working-class Liverpool and honing their craft in Hamburg, to Beatlemania, the Ed Sullivan show, and rocking Shea Stadium - The Beatles contributed not just soul-stirring medleys and unforgettable lyrics to the world of music, but hairstyles, fashion, and cultural consciousness across the universe. It is in that spirit of collaboration and innovation that we present our 2019 program, 'The BLUECOATS.' From 'I Want to Hold Your Hand' to Abbey Road, we use 21st-century technology, unavailable when the music was created, to harness the breadth and depth of the Beatles’ catalog and explore our own evolution - on stage and live in concert."

The conductor taps his baton and we are underway.

What’s amazing is that the horn line hits that giant chord after the drum break, then maintains it when they break into motion. I’d like to listen to a recording to see if I hear any change in sound quality.

I need to find out of the mellophone ostinatos are traded off between the two groups of mellos during Eleanor Rigby. If so, it’s an incredibly seamless performance and, personally, high brass level playing.

Also impressive is the trumpets when they’re up front and playing multiple counter melodies. Lining that up across the front side is difficult, to say the least.

Ahh, full tuba line sustained pedal note. I’m in love.

I know I keep focusing on the brass, but this may be Doug Thrower’s finest work, and the brass line is more than up to the task of playing it.

The color scheme of this show is very Bluecoats and reminiscent of Tilt in 2014 with the orange and blue.

Blackbird. The flugelhorn soloist alone makes this another musical moment in 2019.

Tubas on the Come Together bass line, with AT LEAST four part harmony, I will play on repeat for months after this season is over.

This was my first viewing of the new ending for Bluecoats. I still feel like there’s more coming. We’re going to get an ending worthy of Downside Up, just you wait.

Next on the field is the Santa Clara Vanguard from Santa Clara, California. Here is their 2019 program information:

• Show Title: Vox Eversio
• Music Repertoire:
  • "Fraternity" by Thierry Deleruyelle
  • "Audivi Media Nocte" by Oliver Waespi
  • "Nothing Else Matters" by Metallica
  • Original music by Sandi & Paul Rennick
• Description: "'Vox Eversio invites the audience into a world in which the courageous choice of nonconformity is not only accepted, but celebrated,' said Michael Gaines, VMAPA Creative Director and SCV Visual Designer. 'The choice to bring this show to life was made easier with the knowledge that this skilled cast of performers would be able to perform it with an authenticity that must be experienced to be believed.'"

Vanguard does not waste any time, either. Drum line goes full out right at the start of the show. Once the brass comes in, it’s just straight up loud

Horns now backfield as a mellophone soloist plays from one of the many props on the field.

Tubas laying down a great bass groove as a mello/Bari duet is literally wheeled across the field.

Oh, my stars, that drum line.

“Hey, remember how everybody loved the mello sustain last year? Let’s do it again, but keep modulating it up the scale.”

Really, if you’re going to be one of the first to put a sousaphone on the field, you definitely have somebody who can play the snot out of it.

SCV horn line is just ripping face throughout this entire part of the show.

Lars Ulrich really needs to hear SCV’s rendition of Nothing Else Matters. 

OK, trumpet soloist did not make my cats mad. That note needs to go higher.

Big brass and guard dance break right in the center of the field as the drum line lets loose up front. No doubt why they’re winning percussion night in and night out.

Next on the field is the Blue Devils from Concord, California. Here is their 2019 program information:

• Show Title: Ghostlight
• Music Repertoire:
  • "Cycle Song" by Imogen Heap
  • "Rhythm Song" by Paul Smadbeck
  • "A True Passion" by Lorne Balfe
  • "Stroke of Genius" by Lorne Balfe
  • "Symphony No. 3" by Aram Khachaturian
  • "Ghostlight" by Dave Glyde
  • "Circus" by Britney Spears
• Description: "Some people maintain that the function of the lone stage light is to chase away mischievous spirits; others insist it illuminates the space for the spirits that are said to inhabit virtually every theatre, keeping them happy and contented. Without a doubt, the paranormal dance of the empty theatre is mysterious, magical and rich in folklore... Ghostlight shines a light on 154 extraordinary performers as the Blue Devils travel the United States for a summer of music, motion and imagination. With a rich history of excellence and innovation, Drum Corps International’s most honored drum corps celebrates one hundred yards of discovery. On a stage where anything is possible, Ghostlight reveals the traveling performance troupe of contemporary drum and bugle corps we all treasure."

Oh, I like the old timey piano sound to start the show.

Also, the rifle ripple toss and catch backfield before the corps comes flying out from the back props.

Also, there’s a live violinist in the pit this year and I am for it.

Trumpets’ opening statement is a STATEMENT and is tight!

This opener really grooves. Every section is getting a chance to show off and they’re all up to the task.

Wow! The effect of the lowering the props and then back up while tossing the flags over them is very eye catching!

Our final corps of the evening is Carolina Crown from Fort Mill, South Carolina. Here is their 2019 program information:

• Show Title: "Beneath the Surface"
• Music Repertoire:
  • "Dark Clouds (from Temen Oblak)" by Christopher Tin
  • "Frolic (from Rabbit and Rogue)" by Danny Elfman
  • "Gabriel's Oboe" by Ennio Morricone
  • "Bucimis Traditional Folk Dance" by The Swingles Feat. Trichy Sankaran

Crown brass right out of the gate announcing they’re here to (literally) play. The percussion jumps right in to show they also mean business.

Opener is very energetic thanks to the 7/8 feel of the piece, with plenty of musical opportunities for the brass to continue making the case for the top spot tonight.

Gabriel’s Oboe is a selection a drum corps can never go wrong with. Also, loving the removal of the uniform tops on the horns and percussion, showing what is “Beneath the Surface”. This also allows us to see more of the textures on the uniforms.

Bucimis brings the percussion back into the forefront, but the selection is a great Eastern European folk feel while also grooving hard in an almost jazz fashion.

Great visual effect when the brass hits a company front. Since the pant legs are light and dark, the two shades alternate as they march forward.

Our final PERFORMING corps of the evening is the United States Marines Drum and Bugle Corps from Washington, D.C.

Anybody ever think the Marines would play Elton John?

Second movement is music from The Right Stuff. What’s also the right stuff is how the Marines have increased the size of their front ensemble and implemented amplification over the past few years.

This corps is about half the size of most of the groups which competed tonight, but they put out just as much sound. While some may say that its the two-valve G bugles the Marines use, I think it’s mainly the fact that these are truly professional musicians who have mastered their instruments and this art form.

This is a fresh new take on Stars and Stripes from the Marines. Much more expanded arrangement and focus on the full song instead of just building to the final section and company fronting. They even did a diagonal company front at that point of the show.

Scores:

11. 83.000 - Spirit of Atlanta
10. 84.425 - Phantom Regiment
9. 86.650 - Cadets
8. - 86.850 - Blue Stars
7. - 87.825 - Blue Knights
6. - 90.275 - Boston Crusaders
5. - 91.400 - Cavaliers
4. - 91.575 - Carolina Crown
3. - 93.400 - Santa Clara Vanguard
2. - 94.075 - Bluecoats
1. - 94.150 - Blue Devils