ICCA Mid-Atlantic Quarterfinal at Johns Hopkins University

The Mid-Atlantic region of the International Championship of Collegiate A Cappella (ICCA) had its second quarterfinal this Saturday, at Johns Hopkins University. I took in the show alongside University of Rochester Vocal Point alumna, and multi-time ICCA competitor Genevieve Chawluk, who was kind enough to write up a bit of commentary for the blog.

Before we get to that, a quick summary of the show:

Host group:
The Johns Hopkins University Octopedes

Competing groups:
The College of New Jersey Trentones
The Loyola College Belles
Rensselaer Polytechnic Institute Partial Credit
Rochester Institute of Technology Eight Beat Measure
The Johns Hopkins University AllNighters
The Lehigh University Melismatics
University of Delaware Vocal Point

Pictures from this show are available on our photos page.

And now, on to the commentary and full event review…

Genevieve: On Saturday, I had the pleasure of attending the ICCA quarterfinal event at Johns Hopkins. Well, it might be that Mike was insistent in his invitation, and I’m pretty sure I still owe him $5 for the ticket. As an a cappella alumna, five years removed, I’ve finally completed a cappella detox. I have to say, going to an ICCA show took some convincing. Also, I felt really awkward sitting in the audience with a steno pad.

But you know what? It was fun. And it brought back a lot of memories. But mostly, I realize that I am finally distanced enough to see the groups both from an audience member’s perspective, in addition to lending an a cappella performer’s ear (and eye).

I want to speak to what makes a group fun to watch…for an audience member. Now, I realize that I may notice nitpicky details that others don’t, given my experience. But I think, if groups keep these suggestions in mind, a cappella can become more accessible to a larger audience. Not just the friends and groupies and families. Because, let’s be honest--there are a LOT of people out there who don’t like a cappella, and even more who just don’t see the point.

Stage presence. This is obvious, and I know we all keep it in mind, and we all talk about it during rehearsals. It’s worth up to 50 points on the ICCA judging sheet (in comparison, vocal performance is 75). My experience has been (both in my group, and my impression when watching many others) that we just add in choreography because we’re “supposed to.” Why move around and sacrifice sound quality if it doesn’t make sense? “Duh, for 50 points!” Here’s the thing: it has to be audience-accessible. It has to make sense. From an audience perspective, it’s much more enjoyable to watch a group that is having fun and connecting with the music – and the audience! – than to watch 15 college kids haphazardly moving around stage because it’ll gain them a few more points. Remember that you’re being judged also on “appropriateness of movement.” So, some concrete stage presence pointers:

-Connect with people in the audience: Make eye contact with them. Smile, if it works with the song.

-Soloists: don’t sing the entire song with your eyes closed! It creates a barrier between you and the audience. I know they’re scary, and so are the judges. If you need to close your eyes, do it occasionally, but not the whole time. Pick people to look at, but be careful you don’t fixate on one point (deer in headlights?).

-Exclusivity: We get it. You all get along. You looooove each other. You spend hours upon hours together during the week rehearsing, making jokes, maybe getting a little stir crazy. Remember--the audience doesn’t know this. I know this, because I’ve been there. But the audience doesn’t know. So, when you spend entire songs, or an entire set, winking at each other, making hand gestures or motions to crack each other up (but don’t relate to the song), and generally make an inside joke out of the entire performance, you alienate the audience. It’s great that you get along--use that cohesion to invite the audience in. If you want to join an exclusive club and keep everyone out, join a secret society. Or don’t invite anyone to your gigs. Note: this also applies to skits (why oh why are we still expected to do skits?).

-Inclusivity: On the other hand, remember that you ARE a group. I will never, ever understand why in some groups, the percussionist stands separate from the rest of the group. I’ve seen groups where the percussionist stands several feet away from the arc and faces the audience. What can that possibly do for tempo? Even if you, the percussionist, are the director…join your group. You’re performing together. And, unless you are the famous Ian Koff (seeing if he reads this…or regularly Googles himself…), no offense, you are probably not good enough to have all of the focus on you.

-Have fun: You like singing, right? You’re in an a cappella group because it’s fun, right? Well, then, have fun, and it’ll show to the audience! I would much rather watch a mediocre group that is having fun on stage than a musically perfect group where everyone looks miserable, or terrified, or bored, or awkward. Have fun, but watch out for the inside joke thing.

This one is for the ladies: All-female groups, that is. I was in one. And, between competing in ICCAs myself, traveling with my group, and listening to recordings of other all-female groups, I’ve heard a bunch. Ladies, we rock. We’re more than just cute girls in all-black with pink flair who can sing (but we are also that). We are capable of so much! Which is why I’m always so disappointed when I see all-female groups taking the easy way out, not taking risks. Girls, you can learn how to beatbox like a dude. Stay away from the doom-chicka doom-chicka. You can do more!

And ok, not all women can sing below middle C but guess what – a lot of us can! TRY it! I’m not saying we need to be carbon copies of men’s groups. We have our own strengths. I’m just always sad when we’re not given credit when the talent is there. Stretch the range in your arrangements (try a bass line!). Tackling a rock song? Then put some grit into the solo (and the backgrounds)! And please, please, please remember – it won’t kill you if you rock out on vocal percussion and not look cute for 3 minutes (I’ve spit on my fair share of mics).

All that being said, I’m letting Mike do the play-by-play of Saturday’s show. To put my two cents in, I completely agree with the judges' choices of who is moving on (Lehigh Melismatics and JHU All-Nighters). Everything I’ve addressed is in response to something specific I saw, but nothing was new to me; I saw the same things happening when I was in college (I’m going to go out on a limb here and say that collegiate a cappella hasn’t changed drastically since 2004). The Melismatics rocked--they really brought the house down. They have the talent, the solid arrangements, the soloists…but they also have fun on stage (without alienating the audience), and their choreography was fluid and natural. All in all, it was a fun time – and who knows, after five years out of the a cappella loop (to a certain extent--Vocal Point never lets you leave completely!), maybe I’m ready to start listening again.

Mike: Thanks, Gen!

The Octopedes kicked off the evening, performing a serviceable rendition of Alicia Keys’s “No One.” It wasn’t bad, but there were some kind of odd choices when came to dynamics and syllables. The visual presentation was a tad awkward, too with the men of the group in a back arc, the women in a front arc, and about half of the guys appearing wildly animated, while everyone else just stood around.

On to the competing groups, and The College of New Jersey Trentones were the first group out of the chute. They were a sharp looking mixed group, with black tops, blue jeans, tan and gray highlights. Classy and distinct appearance, and a more cohesive look than a lot of mixed groups can manage.

The group started its set with “My Immortal” by Evanescence. Odd choice to open with a ballad like this, but I was willing to give it a shot. Good soloist on the song, and I liked the idea of the male backing solo that joined her on each chorus. This may have been more of a mic-ing problem than a fault of the group, but the soloists seemed to absolutely overpower the rest of the group, for a sort of weird sound. Overall, this one was pretty, but nothing particularly complex or impressive from a musical perspective. Visually, I had bigger issues, as the group stood in two lines for most of the song, and repositioned those lines as it went along. This brand of repositioning can be a nice, subtle style of movement, to keep things interesting without taking away from the music. However, whether it was a function of the sheer number of group members, or some sort of miscommunication, the movement looked disorganized and messy here, and it was a distraction for me. I also wasn’t thrilled with the close of this one, when the group upped the tempo and the volume. I get the idea here—shaking things up, and gearing up for the more upbeat song to follow. Neither the sound, nor the juke and jive movements really fit the song, though, for a disappointing finish.

The Trentones’ next song was Gnarls Barkley’s “Crazy.” Fun visual transition here, as the soloist slipped on a pair of shades, and the group worked in some more traditional choreography from the get-go—holding their heads on “crazy” and whatnot. The soloist had a good voice here, but a song this fast-paced, and with this unique of a style is always a gamble, and I don’t think it paid off here. Rather than wowing us, the soloist seemed to be struggling to keep up. Decent sound from the background, though the soloist again seemed to overpower everyone else.

Last up was Rajaton’s “Butterfly.” Pretty good sound all around on this, though the blend seemed a bit off on the choral parts. Otherwise, nothing great, nothing horrible—this one was just sort of there for me. All in all, this song underscored my main issue with The Trentones, which was song selection and set organization. In starting the set with a ballad, there’s a need to pick up the tempo in the middle song, and then probably slow things down again at the finish. If the last song is going to be slow, it had better by crazy-intense, or emotional enough to grab everyone in the audience. Alternatively, you could go with a “November Rain” or “Come Sail Away”-esque song that starts slow before rocking at its end. “Butterfly” was just too even keel to really accomplish anything at a gut level, which isn’t going to garner any more crowd energy behind your set. Crowd support is just the sort of intangible that will elevate a set of this musical caliber into the upper echelon of a quarterfinal competition. As it stood, this was a lukewarm closer to a lukewarm set.

Trentones Set summary:
1. “My Immortal” by Evanescence
2. “Crazy” by Gnarls Barkley
3. “Butterfly” by Rajaton

The next competitors were the Loyola College Belles. I very much liked the look for these ladies, all in black with electric blue highlights. Very sharp, though it remains a pet peeve of mine when group members who all have the same piece of flair opt to wear it in different places—in this case, some of the women wearing it as a belt, others as a headband, still others as a scarf. I realize that people have all different body types, and the sash might be more or less flattering in different places for different folks, but it has still always been a bit distracting for me. I minor quibble, though.

The group opened with Pink’s “Who Knew.” The soloist had a very good voice, but this was absolutely not the right song to showcase her talents. This song is supposed to be something of an anthem--“I’d stand up and punch them out” is not a lyric built for sweet, melodic crooning. Good all around sound, but, like the soloist, the backing vocals were far too pretty with far too little firepower. That, and the movement here represented what I don’t like about watching all-female a cappella--a hand drive or sidestep to go with every lyric. I like choreography as much (and probably more than) the next guy, but there’s a time and place for it, and a time to just look like you’re having fun, rather than sweating the pressure of synchronizing every hip sway. The best thing about this song was probably the vocal percussionist, who I liked a good deal. Even this aspect of the performance was not without flaw, though, as she was positioned oddly far off to the side from the rest of the group. I don’t agree with, but can accept the idea of isolating your drummer. But this one was easily two-to-three arm lengths away from her nearest group member, which was far away enough to be distracting for me.

Next up was “Love Lockdown” by Kanye West. I do appreciate that The Belles tried to make some really different, and powerful song choices for this set, but I wasn’t sure that this was the best pick either for this particular ensemble. The start just sounded too low for the group to really hit it, and while things did pick up from there, I just never got the sense that they really “owned” this song. At least they spread out into an arc that allowed the drummer to look like she was part of the group again. They tried out some body percussion, which I’m usually a big proponent of, but here, it just looked too awkward and timid to really work, with a lot of patting of the shoulders that was just barely audible to the crowd. OK all around performance, but nothing to really turn any heads on this middle song.

The Belles wrapped up their set with “Dig” by Incubus. The group probably achieved its best all around sound on this number, looking more confident and comfortable than they had at earlier points in the set, backing up, by far, their most powerful soloist. All-female groups don’t need to be so powerful, mind you, as they generally have an inherent ability to achieve greater sensitivity than their male counterparts. But with these song selections, the women were daring to be a power group, and this was the only point at which they really achieved that end. There were still some issues—some rather grating syllable choices, and choreography that featured repetitive and overly literal movement (the worst of which was a recurring turn to standing back-to-back with each other on the line “I turn into another").

Belles Set Summary
1. “Who Knew” by Pink
2. “Love Lockdown” by Kanye West
3. “Dig” by Incubus

The emcees struggled in announcing the group to follow—mixing up the school, then the group name, then both before calling on out Rensselaer Polytechnic Institute’s Partial Credit. The mixed group came out in black and faded blue, for a decent look. If nothing else, they had good visual cohesion between the men and women, which always makes me happy. Partial Credit kicked off its set with Meat Loaf’s “You Took the Words Right Out of My Mouth.” Good stage presence and a decent voice on the soloist. Above average vocal perc. Some good energy on the movement. All in all, I was feeling this song, except it just seemed to go on… and on… and on. Things got to feel pretty redundant, which is generally a sign that there are some flaws in the song choice, the arrangement, or both. The group tried to get the crowd clapping at the end, to modest success. In my opinion, they had lost the crowd before that point, and shouldn’t have been going for audience participation this early in the set anyway.

I believe the next song was “Baba Yetu,” composed by Christopher Tin--feel free to correct me if I’m wrong. Nice bass line from the start here. The soloist wasn’t fantastic, but definitely sold the song full-tilt—great stage presence and intensity. The song sounded like it was mostly block chords in the background—not particularly difficult, but a decent overall sound quality. This one worked from a visual perspective as well, as the group made the sort of subtle rearrangements in stage presence that The Trentones struggled with earlier. Good song overall.

Partial Credit finished its set with Simon and Garfunkel’s “A Hazy Shade of Winter.” I’m not sure about this as a closing song, and the execution didn’t help matters. The blend just seemed way off throughout the song, and most clearly for the two soloists, who ended up with a muddled, messy sound. The falsetto portions of the song were especially grating. Lackluster finish to the set.

Partial Credit Set Summary
1. “You Took the Words Right Out of My Mouth” by Meat Loaf
2. “Baba Yetu” by Christopher Tin
3. “A Hazy Shade of Winter” by Simon & Garfunkel

Closing out the first half of the show was Rochester Institute of Technology’s Eight Beat Measure. Very sharp look for this all-male group, with black blazers, black t-shirts and jeans. The guys opened with Coldplay’s “Viva La Vida.” Something about the soloist just didn’t quite click for me—he had sort of a thin voice, and a delivery that I found oddly reminiscent of Owen Wilson in Wedding Crashers. Some good work in the background with a lot of variation in the dynamics, and good percussion. Some of the movement was quite well managed here, while other parts were just awkward—case in point, a visually impressive moment in which the line of men took a slow, perfectly synchronized walk toward the front of the stage—to be followed by a painfully awkward, slow motion backwards walk that was far less in sync. All in all, a decent opener, and if nothing else, I’ll give the guys credit for bringing significantly more energy and confidence to the stage than any of the groups before them.

Next up was Red Hot Chili Peppers’ “Tell Me Baby.” I still liked the energy from the guys, but wow was the soloist in over his head. This was something like watching your buddy sign up to sing “One Week” at a karaoke bar—first you’re impressed, then you think it’s funny when he starts to fall behind, and by the second verse, you just want it to be over. To be fair, this guy had a good voice and it wasn’t all awful—and for Eight Beat Measure to have picked this song, I have to assume that he’s usually better on this solo. To his credit, the soloist stuck with it, and stayed poised throughout the song. Good sound from the backing solo, and some good movement from the group to somewhat redeem this.

Three words to sum up the next song. Hard. Rock. Hallellujah. OK, a fourth: wow. Never let it be said that Eight Beat Measure is unoriginal, as they made the highly unconventional choice to perform Lordi’s “Hard Rock Hallellujah.” When the group is performing in front of its home crowd at a campus show, I have to imagine that this song is absolutely electric, bringing the fans out of their seats. Even in this environment, I won’t deny that it was entertaining. However, this brand of performance just did not work for a competition set. The soloist put on his best hard rock, gruff voice, sounding like a caricature of every hardcore wannabe cover act you’ve ever seen. In his defense, he did keep up the voice for just about the whole song—no small feat. Regardless, there was very little that was musical about it. The guys kept the enegy up, bouncing around the stage, rocking out—if not doing anything musically complex, at least keeping the volume and the visuals up. Again, in a non-competition setting, I think I would have enjoyed this a lot. In this setting, however, the song more or less took the group out of contention for placement.

Eight Beat Measure Set Summary:
1. “Viva La Vida” by Coldplay
2. “Tell Me Baby” by Red Hot Chili Peppers
3. “Hard Rock Hallellujah” by Lordi

Intermission time. Get up and stretch. The sound guys treated us to two tracks off of Paul Simon’s Graceland album before reverting to the standard BOCA tracks.

Next up were The Johns Hopkins University AllNighters. The guys were pretty styling in their traditional white collared shirts, vests, ties and khakis. They opened the set with Simon & Garfunkel’s “The Sounds of Silence.” From the opening chords, I couldn’t escape the feeling that the AllNighters had really handicapped themselves with poor song selection. If “Sounds of Silence” is a mood song, the mood is mellow. Not enough bang for an opener, not enough intensity for a middle song, and certainly not enough energy to close out a set. And yet, these guys went a long way toward winning me over on this tune. There were some nice harmonies throughout, and the soloists were quite good, multiplying as the song went on. The dynamics were right on the money, and I really enjoyed the way the guys hit a crescendo as they upped the tempo, building to the point where they introduced their percussion—which was also quite good. This turned out to be the best song of the night up to that point, almost in spite of itself. I still question the song choice, and wonder what the group could have done with a more apt tune. Regardless, it was a solid opening to the set, and the group asserted itself as the most confident and sound group to perform yet.

I couldn’t help but cringe when The All-Nighters started in on Imogen Heap’s “Hide and Seek.” What can I say? This group and I were just not on the same page when it came to picking out songs. I had flashbacks to 2007 when, I attended five ICCA shows, and heard the song performed by five separate groups—not to mention seeing it twice more in non-competition songs. I will give the guys some credit—this was the first time I’ve ever seen an all-male group take the song on. On to the performance itself—it was actually quite good. Very, very nice blend. Tons of subtle but effective movement, so it was never dull, but never overwhelming. Clear, crisp sound. Fine dynamics. Surprisingly good high notes rounding the final bend. I didn’t expect or necessarily want to like this, but I have to give credit where it’s due—this was very good.

Last up was “Landed” by Ben Folds. I’m a big fan of Ben Folds, and yet I can easily count on one hand the number of a cappella renderings of his music that I’ve enjoyed. This was better than many of them, but still not fantastic. Decent overall sound, good stage presence from the soloist, nice dynamic variation, very good perc once again. And yet, this song was simply not meant to be the sort of barn-burning closer I think the guys wanted it to be. Like “The Sounds of Silence” this tune is just too mellow. That’s not to say it’s a bad song at all—just not a song you want to bring to competition. There was some slick choreography heading into the end of the song, and the guys tried to get the home crowd clapping—which they were surprisingly reluctant to do. Anyway, while this wasn’t bad, it was the one point at which poor song selection finally caught up to The AllNighters, and they were not solid enough to overcome that self-imposed challenge. Disappointing close to a good set.

AllNighters Set Summary:
1. “The Sounds of Silence” by Simon & Garfunkel
2. “Hide and Seek” by Imogen Heap
3. “Landed” by Ben Folds

The next competitors were The Lehigh University Melismatics. The mixed group came clad all in black and red, for a pretty sharp look. They started out by dividing into two groups, with one member at the center, conducting for them as they sang a sampling of Beethoveen’s 5th Symphony. The group played this up to good comedic effect, but I felt it went on a little long. After all, you only get 12 minutes to make an impression. Nonetheless, the crowd’s patience was well-rewarded when the group transitioned to Robin Thicke’s “When I Get You Alone.” Scintillating solo, and the group demonstrated a ton of spunk, really setting themselves apart from the rest of the evening’s performers. Good sound, good theatrics, from top to bottom, a very good song.

The Melismatics’ second song was “And So It Goes” by Billy Joel. I have a soft spot for this song, but have never heard an a cappella version that I really connected with. The group stood in a stationary double arc, men on the outside, women closest to the crowd. Very good blend, and a very good sound in general. Nice range of dynamics. The voices got a little ‘musical theatre’ for my tastes at points, but it’s a minor quibble. The soloist, who got but a few lines to herself, handled the lines quite ably. Overall, it was good, if a bit boring. I would have hoped for a more original song choice, or more activity on stage, but relative to the many overdone songs that evening, I really can’t knock the choices.

Last up for the Lehigh group was Rob Thomas’s “Streetcorner Symphony.” The soloist’s voice was a little thin for my tastes on this one. I suppose a lot of that is because I’m used to Thomas’s fuller vocals, and it’s probably not fair to compare the two. Nonetheless, it wasn’t great for me. The percussion, though good, seemed just a little off the beat early on. All in all, the group sound was quite good, though, and this was one of the most fun songs of the night from a visual perspective, with members really selling the attitude of the piece time and again. They probably should have trimmed or sampled something during some of the long instrumental segments, but it’s a relatively minor complaint. It was the right song choice, and a fine closer.

Melismatics Set Summary:
1. “When I Get You Alone” by Robin Thicke
2. “And So It Goes” by Billy Joel
3. “Streetcorner Symphony” by Rob Thomas

The last of the competing groups was University of Delaware Vocal Point. The mixed group took the stage with absolutely no semblance of visual cohesion—t-shirts and jeans, skirts, dresses, collared shirts, they were all over the place, without so much as a color scheme to bind them. This competition is not about the clothes you wear, but this sort of lack of unity just looks sloppy to me.

Anyway, Vocal Point opened with Dave Matthews Band’s “Ants Marching.” It is a very difficult thing to cover Dave Matthews. The way I see it, you either need to nail your imitation of Dave’s unique voice, or take a completely different slant, and make the song your own. The soloist here came off as a so-so imitator to me. I’ve certainly heard worse, and the guy had a decent voice, but he came off as the front man for a Dave cover band—not an independent artist. Decent sound all around, and good percussion, but the song started to drag through instrumental pieces, before bottoming out when they hit the violin solo. I struggle to think of any time when a violin solo is a good idea for a cappella. Maybe it would work in front of a home crowd, in a non-competitive setting, if you really hammed it up? Anyway, none of these factors were in place, and this instrumental part was a real disservice to the group.

Next on the docket was Sara Bareilles’s “Gravity.” Pretty good soloist, decent all around song. Nothing to wow the crowd on this one, and the choreography went from OK to just plain rough as there were a lot of poorly synchronized movements around stage. Choreography is a relatively small part of ICCA performance—certainly less important than what the crowd can hear. Nonetheless, there’s no denying that visual presentation has become increasingly important as a part of the ‘total package’ in collegiate competition. I’m all for making the effort, but you have to know your limits and not push too hard for something you can’t pull off. The visuals really took away from this song for me.

Vocal Point closed with “Fly Away” by The Living End. Good sound, especially as this one opened. Solid solo, though it fell apart for me when the guy actually broke to whistle part of the melody. I’m not familiar with the original song, and imagine that’s part of it. Regardless, it probably should have been cut, or handled in a different way. There was some harmless, cute movement early in the song, which evolved into bigger movement, including a super-awkward box step toward the end. Anyway, all told, there was nothing horrible, and nothing great, for an adequate end to the set.

Vocal Point Set Summary:
1. “Ants Marching” by Dave Matthews Band
2. “Gravity” by Sara Bareilles
3. “Fly Away” by The Living End

The Octopedes took the stage again as the judges deliberated. Decent set from the host group, including “You and I Both,” “Pork and Beans,” and “Between the Lines.” As this went on, I considered my own picks for the show. It was clear enough that The AllNighters and The Melismatics were going on to the semifinals, though there was some question about what order they’d fall in. I felt as though The AllNighters really handicapped themselves with abysmal song selection, and yet shone through, making the most of the bulk of those songs. Meanwhile, The Melismatics made safer choices, and performed them quite ably. All in all, they were the only two groups to really look as though they were confident and having fun on stage throughout their entire sets, and that can make all the difference. Ultimately, I thought The AllNighters just barely edged the Melismatics out. I found it to be a pretty tight race for third, and originally had Eight Beat Measure slotted for that spot, if just for being memorable and fun in their own right. In the end, though, after reviewing my notes, I’d have to concede that the Trentones did deserve to place.

The judges seemed to agree with me, for the most part. They rightfully gave the VP award to The AllNighters, and rightfully awarded outstanding soloist honors to The Melismatics’ first soloist. The Melismatics also got the nod for outstanding arrangement for “And So It Goes.” The Trentones walked away with the award for outstanding choreography, in the only decision I really disagreed with. The Trentones finished third, with Hopkins coming in second, and Lehigh University winning the night. Not quite how I had placed them, but, again, it was close enough that I really can’t complain. In the end, the right groups are moving on to the Mid-Atlantic semifinals, and the big show at Rutgers is shaping up quite nicely.

Mike’s Picks for the Night
Overall Placement:
1. The AllNighters
2. The Melismatics
3. The Trentones

Outstanding Soloist:
1. The Melismatics for “When I Get You Alone”
2. The AllNighters for “The Sounds of Silence”

Outstanding Choreography:
1. The Melismatics for “When I Get You Alone” and “Streetcorner Symphony”
2. The AllNighters for “Hide and Seek”

Outstanding VP:
1. The AllNighters for “The Sounds of Silence” and “Landed”

Official ICCA Results
Overall Placement:
1. The Melismatics
2. The AllNighters
3. The College of New Jersey Trentones

Outstanding Soloist
The Melismatics for “When I Get You Alone”

Outstanding Arrangement:
The Melismatics for “And So It Goes”

Outstanding VP:
The AllNighters

Outstanding Choreography:
The Trentones