ICCA Northeast Quarterfinals at SUNY Potsdam

Event: International Championship of Collegiate A Cappella Northeast Quarterfinal
Date: March 3, 2007
Location: Potsdam, NY
SUNY Potsdam
Hosmer Hall
Official Results: See end of article

Mike C checking in once again, and this time I have the pleasure of co-reviewing a show with Melissa Rashford, a former director of the Syracuse University Mandarins, and five time ICCA competitor. I hope you'll enjoy the 'he said-she said' nature of this review, coming from the layman and the experienced musician.

Good show all in all, though I was a little taken aback by the early start time. It was my mistake, but I assumed the show was starting at 8 p.m., rather than the actual start time of 7:30. Fortunately, we rolled into beautiful Hosmer Hall about 25 minutes early by my watch, which means we were only five minutes late in actuality, and it appeared that all we missed was the start of the host's opening song.

First, a word about Hosmer Hall--this is an exceptional space for competition. I wasn't too keen on the facilities at Lafayette last weekend, but Potsdam had the hook up with a spacious auditorium, sizeable stage and nice sound. It was a little disappointing to see as many empty seats as there were for what turned out to be a pretty good quarterfinal.

Anyhow, as I alluded to earlier, we showed up in the hall to catch the end of host group, the Potsdam Pointercounts, singing Roy Orbison's "Pretty Woman." Classic tune, really well rendered here. The Pointercounts are an all-male group with a sensational sound--outstanding blend, musically sound, and visually appealing with their white pinstripe baseball jerseys and jeans. It's always a pleasure to catch this group in action.

ICCA Northeast Producer Maxine Sharavsky took the stage for the standard announcements. I liked her stage presence and tone. She introduced emcees Justin and Mark.

As we get into the competing groups, a reminder of my completely subjective scoring model. The basic breakdown:

* = Not so good.
** = Okay
*** = Good
**** = Stellar
***** = Simply outstanding

Our first group for the night was the State University of New York (SUNY) at Potsdam's A Sharp Arrangement, or the A-Sharps. Young looking all-female group. They came out in matching dark-pink t-shirts and jeans. This is a good look for your everyday campus show, but I would have preferred something a little dressier for competition.

The group opened with Guns N' Roses' "Sweet Child of Mine." Not horrible, but not great either. The soloist's voice had a sort of classical tone to it that didn't work for me here, and the arrangement was altogether too girly. I wanted this song to rock, but it just never got there. The choreography was there, at least, but the girls looked self-conscious on it. Next up was an untitled tune from Saving Jane. This was an absolutely beautiful song that I hadn't heard before the show. Fine job by the soloist here of really engaging the audience, and carrying the melody. I was a little disappointed by the lack of substance to the arrangement--the soloist sang alone for a good portion of it, and while singing in a round at the end was beautiful, I would have appreciated some more complexity all around. Still, a good choice for a middle song. Last up was KT Tunstall's "Black Horse and the Cherry Tree." I wanted to like this one, and to their credit, the group did some really interesting and well-synchronized things with body percussion here, maintaining a clap and stomp combo for the entirety of the song. The piece wasn't exactly a thriller though, and quite frankly, the song was bigger than the soloist. Points for a decent, contemporary song choice, but this one didn't quite cut it. All in all, good, but not great song selection. Good, but not great execution, with the exception of the second soloist, a dark horse for best soloist early on. All in all, I'll give the set 2.5/5 stars.

Melissa: As former director of an all-female group, I am always particularly interested to see what different girls' groups decide to bring to competition. I liked the A#s' energy from the get-go, especially since it's difficult to lead off at ICCA. As Mike noted, they were in matching group t-shirts and jeans, which I agree was an everyday look. I think it worked for these girls--they looked like they were ready to have fun.

"Sweet Child of Mine" was an interesting choice for an all-female group, but this arrangement was a bit too blah for my taste. The girls were all smiles throughout the song and the soloist did a very respectable job; however, as Mike said, it was an altogether "girly" performance. Decent opener, but still not what it could have been. The middle song began with a strong soloist who carried the song on her own for a solid 30 seconds. The soloist had fantastic control and held my attention from the moment she began. She was later joined by an upper harmony line, followed by the remainder of the group on backing vocals. The song reminded me of a song that I used to do with The Mandarins, and struck me as simple and safe. It's a lot easier to keep the group in tune when your soloist is singing by herself for 70% of the song. The A#s surprised me at the end, however, by falling into a canon, adding something interesting to an otherwise easy arrangement. Finally, "Black Horse" is a catchy radio tune, but again, there's no backing vocals for 70% of the song. For a group who wants to be judged on their vocal performance, I thought this song selection was ridiculous. The ˜woo-hoo"s were out of tune from the opening and the rest of the group never really fell into place. The A#s tried to make it interesting by adding handclaps and foot stomps, but the tempo got completely away from them and made the song go nearly twice as fast as it should have. I'm not sure why they used two soloists, as hearing one girl yelp and riff at warp speed was still too much for me.

Mike C: Next in line was SUNY Albany's Serendipity. Nice threads from the all-female group, dressed all in black, with silver flair around everyone's waist. They looked very professional coming on stage.

Unfortunately, the group negated that appearance of professionalism within the first 10 seconds of their set, as all but three members kind of awkwardly positioned themselves behind a partition on stage. I get what they were going for as they opened the set with just three members singing "Somewhere Over The Rainbow," and other parts gradually joined in. Really good sound on this, but a mighty cliche and boring choice to open the set. I kept hoping they would use the song as a lead-in to something else, or that they'd break into the Israel Kamakawiwo'ole version of it, but it just never came. Then there was some conducting on stage. Points off for that. Just when I thought it was over things went from bad to wretched as the girls pulled multicolored pieces of fabric from their waistbands. Get it--colors of the rainbow? I managed to hold back my nausea to wait out the next song. Turned out it was Incubus's "Drive." Musically, the group was still good, but I have trouble comprehending why they picked this set. You go from about the most boring song you can pick, to a song that's not quite rocking, not a ballad, just kind of in the middle. I give them credit for some innovation, taking on a tune typical of male groups. My hat's off to the soloist as well, who was doing her best in movement and vocals to make it a rock song. The percussionist was into it as well, though I found her air-piano/raptor arms dance moves a little awkward. The rest of the group didn't do the choreography justice, just not into it enough to make it work. Last up was Evanescence's "Going Under." Another good soloist here, and a better effort on the choreography. Still, after those first two songs, the group needed to blow me away. They finished up with their best song, but it just wasn't enough. At the close of that tune, the soloist backed up to join the group, leading me to think we would get a fourth song. Instead, they executed a well-synchronized bow. I'm not sure if I respected their professionalism in knowing exactly how they were going to end the set, or if planning that part of their performance was just awkward. Anyway, this group demonstrated musical talent, but they weren't in it to win it on this night. 2.25/5 stars.

Melissa: I had such high hopes for Serendipity as they came onstage. Dressed in all-black, with matching flair around their waists, they were a wardrobe dream come true for me. You would think that a group that looked great would put on a great performance. Unfortunately for Serendipity, ICCA judges look at both vocal performance and visual performance. While the group's vocals were among the best of the night, the visuals just didn't work.

The girls had a nice idea with "Rainbow", having the different voice parts walk out as their particular part was added in the song. Personally, I thought it was cheesy, and didn't really grab my attention like an opener needs to. Little did I know that the song would get even MORE cheesy by the end--the colored fabric was beyond ridiculous. I just don't understand how a dozen girls mutually agreed that that was a good idea. I will admit that from beginning to end, Serendipity's blend was fantastic. They were very strong musically and really understood how to arrange their particular songs for women's voices. As for "Drive," it just didn't work. The soloist was rocking out as if she SHOULD have been singing "Sweet Child of Mine," and the rest of the group was standing around like they were still singing "Rainbow." It was pretty bizarre overall. Even more awkward was the soloist turning around to look at the group throughout the entire intro. The tempo of this kind of song doesn't allow for much movement, and I can't think of any choreography that would've worked either, but this song needed SOMETHING. As soon as the soloist of "Going Under" started, I thought, great, something redeeming that can put them into contention. Let's just say it didn't live up to my expectations. I thought the soloist sounded awesome, but you can't just wander around the stage aimlessly and expect me to care about what you're singing. The group still looked bored and didn't give anywhere near the performance required of this song. I really wanted to like Serendipity, I did--they just didn't make me care about their set.

Mike C: Albany's all-male Earth Tones were out next. They came out in matching t-shirts with random neck ties, and blue jeans. It's a little unfair how much more a guy's group can get away with than a female group when it comes to dress. Not a great look for the guys, but they looked fun, and it was representative of the set we were about to see.

The Earth Tones started out with a slow, choral introduction to the Counting Crows' "Accidentally In Love," before launching into a full-steam rock version of the song. Strong way to open a set. They got my attention, subverted my expectations with the innovative arrangement of a familiar song, and asserted themselves as the most entertaining group of the night to that point. Good, subtle choreography here as well. Sometimes, you don't need full-fledged hand-drives and step moves, but rather just well planned, casual movement. The soloist's voice was grating on me by the end, and I could have done without the theatrics of the guitar solo (the guy played his air guitar in front of him, behind his head, under his leg, with his teeth--it was a little much). Nonetheless, good tune overall. The group went to The Fray's "Over My Head" next. I credit them for a contemporary song selection, but I wasn't thrilled with what they did with the song. It's a good song to have in your repertoire, but for competition, I just didn't see anything special here. I will give them kudos for their movement at the line "let's rearrange," as a good number of guys shuffled to trade spots with each other. Subtle, appropriate choreography. Last came Josh Kelley's "Only You." Good energy here, and good movement once again. The soloist sounded reasonably like Josh Kelley on this one, but I couldn't help feeling like the voice was put on, and it kind of annoyed me. Good build toward the end of this one, to finish up strong. I'll be generous on this one, mostly because I liked the movement so much, and give the group a 3.25/5 stars.

Melissa: In my experience, all-male groups are the golden children of the ICCA. They are loud, they can wear fun clothes and get away with it, and they can do cheesy choreography and everyone applauds. By drawing the third slot in tonight's show, the Earth Tones were in an excellent position to send the show into intermission on a high note.

As The Mandarins have done "Accidentally In Love" in the past, I find it hard to comment objectively on the Earth Tones' performance. It had an unexpected choral opening with some strategic goofy choreography, and had high energy throughout. I personally couldn't get past the tone of the soloist's voice, but the guys did a decent job. Into "Over My Head," which is such a boring choice for an a cappella song that I want to scream. An okay second song, tempo-wise, nice simple formation and subtle choreography, but didn't anyone else notice that the soloist didn't quite hit all the high notes? Maybe it's just me, but a soloist singing flat doesn't do much for performance points. Into "Only You," complete with effective choreography and an energetic soloist. It was a nice, typical all-male performance. The best of the night so far, not necessarily because of the music, but more because the guys actually thought about their choreography and made sure that it suited their song selection.

Intermission time. Cue up the BOCA CD.

Back from the break, Justin and Mark introduced the night's judges and had them stand. I thought judges were supposed to remain anonymous before the deliberations. Maybe I mixed that up.

To open the second half of the show, we got SUNY Binghamton's all-female Harpur Harpeggios, AKA The Pegs. I liked the dress here with long white blouses, multicolored belts over the waist, and blue jeans. Distinctive and semi-formal--it worked for me.

They opened the set with Alanis Morrisette's "Uninvited." Some good, intense stuff here. The soloist was very into it, and the body perc started out strong, though it deteriorated a little as the song went on. The group threw in a lot of "bing"s. Not aurally pleasing in the least, but I think they may have been going for a Binghamton theme, trying to make the school stick out in the audience's minds, so I was OK with it. Middle of the road opening song. Intense enough to show they came to play, but not good enough to wow me. Next up was Imogen Heap's "Hide and Seek." This was only my third ICCA show for the year, and this was the fourth group I've heard do the song. And that's not counting a campus show I caught at the University of Rochester this fall, where the Ramblers and Vocal Point collaborated on it too. I'm sorry, but as good as this song is, it's played. The good news for the Pegs was that, visually, this was the best rendering I've seen. They started with an outward facing circle, meaning half the women were facing away from the audience. Then, at "spin me 'round," the girls in back turned so they all faced the stage. Nice, subtle movement as the song went on. The bad news is that, for sound, this song was an absolute mess. The blend was lousy, and the group just didn't sound good at all. I wish I could combine this group's movement with the Syracuse Mandarins' arrangement and sopranos, with Ithaca College Premium Blend's blend (no pun intended) for one really good rendition of this song. Alas, it is not to be. The Harpeggios had a lot of damage control to do to recover from that middle song. They moved into a Janet Jackson Medley. In theory, I'm all for this idea. While most of the songs were a little dated, it's a fun idea for an all-female group, with a lot of energy and potential for choreography. The movement was good here. But, wow, this may have actually been one step worse than "Hide and Seek." For one, the arrangement didn't compute to me. There were 5+ songs here, but the amount of time allotted to each was totally disproportionate, ranging from a full minute or more to just one or two lines from the song. For another, this one just didn't sound good at all, either. I hate to really criticize groups musically, given my lack of a formal background, but if I can tell you're off, you're pretty far off. All considered, I wanted to like the Pegs' set much more than I did. Outstanding song selection here, good outfits, good choreography. Musically, though, it just didn't work. Tough show for the Harpeggios. 2/5 stars, and I'd say I'm being pretty nice.

Melissa: I'll be honest, I also had high hopes for the Pegs. I understand that groups change as the years go on, but we competed against them a few years back and they absolutely rocked. This year's group of Pegs had such high aspirations of greatness, and fell so, so short. I will say that they looked pretty great when they hit the stage, but it kind of went downhill from there.

First of all, WHY are groups still doing "Uninvited"? Your soloist is NEVER going to sound like Alanis, and no one really wants to hear sopranos wailing high Gs and As at a collegiate a cappella show. The soloist for this one hit all the notes, but sounded a bit musical theater and so did the backing vocals. Add that to the rest of the group looking incredibly pissed off throughout the song (when did "an unfortunate slight" become "I HATE EVERYTHING"?) and I just didn't get it. Props to the Pegs for completely rocking out at the end, but they should've left the body percussion to their male counterparts and spent more time making their voices sound less grating and actually singing in tune. Nice idea, but holy crap, I felt like they spent the first three minutes yelling at me in three different keys. On to "Hide and Seek"--again, groups need to get over it. I am incredibly possessive of this song, as I arranged for my own group over a year ago. I am so, so over groups doing this song, and doing it poorly. There's enough other rep out there that I shouldn't have to hear it at every a cappella show I go to, you know? Anyway, the Pegs' blend was virtually non-existent, thanks to an overbearing bass line and parts competing with each other. They also cut the majority of the ending and I felt like they were yelling at me again. This did not bode well for their finale, which began with Janet Jackson's "Again." As soon as they started, I had a sneaking suspicion that was going to be a crazy, over-choreographed medley, and I was not disappointed. Back in the day the Pegs did a pretty awesome Madonna medley, so I hoped that this would turn out similar. While the choreography was well thought out, the entire thing was just poorly executed. The arrangement was a mess, with little to no transition between songs--it just didn't make sense. If you're going to do a medley, make it a medley; don't just sing random snippets of songs one after another, throw in excessive choreography, and think that that's going to solve the rest of the set's problems. Not to mention that the whole thing went wildly sharp somewhere in the middle, so that one of the poor soloists had to screech her way through her part. In conclusion, the Pegs were kind of a disaster, even though they looked great, had pretty decent song selection, and danced their asses off, the songs were just way too big for this particular group to handle.

Mike C: The emcees warned us that our next group, New York University's APC Rhythm didn't want applause between songs, because they were tight on time. This read a little unprofessional to me. Plan your set, plan your time. If it's that tight, you probably should have done some pruning before competition.

APC Rhythm looked good. Blazers, "I (heart) NY" t-shirts, and jeans for the guys, black dresses for the women. They had a cool, urban image going.

Tight vocal perc on this set. Whoever their drummer is does a fine job, and it was nice to hear it in a show that was otherwise pretty weak in this area. APC started with Nelly Furtado's "Turn Off The Light." Good dynamics, good bass. Soloist didn't wow me, but she was OK. Only thing that really irked me here was that the director was conducting for the start of the song. After a while, she transitioned into just dancing with arms out, like she wanted to conduct. Anyway, I found it distracting. Next up was The Who's "Behind Blue Eyes." Good soloist here, but I didn't feel too engaged. That and the director was conducting again--points off once more. Fortunately, for the last song, the director had the solo, so she couldn't conduct. And man, what an impressive outing for this young woman. The song was The Cranberries' "Hollywood," and if you closed your eyes, you could have sworn Dolores O'Riordan was singing on stage. As I indicated for the Earth Tones set, I typically don't like it when a soloist puts on a voice. I can only assume that the NYU soloist doesn't actually have an Irish accent, but man did she nail this one. My pick for best soloist of the night right there. I had some really mixed feelings on this set. Essentially no choreography, a lot of conducting on stage, and I wasn't wowed with the song selection. Good perc, excellent last soloist and good dynamics, though. I guess it all balances out in the end, and just for sound I'll have the courtesy of giving them 3.25/5 stars.

Melissa: By the time APC walked on stage, I knew we had a competition. This was a group that just LOOKED like they had it together. Mixed groups are usually tough wardrobe-wise, but like Mike said, they looked cool. I was kind of disappointed that they didn't have any choreography throughout their set, but come to think of it, I don't think NYU groups ever do. Since visual performance is a pretty significant portion of a group's score, I don't get why they don't add a step-touch here and there. But I digress.

As soon as their VP started in "Turn Off The Light," I turned to Mike and said they should just give that guy the VP award right now. Apologies to those female groups that actually have solid perc, but I have never seen a girl win this award. The APC VP was awesome throughout the entire set. I think their opener was the first time during the show that I actually thought to myself, wow, what an interesting song choice. APC had great blend and really came off looking like they knew exactly what they were doing. I didn't recognize their middle song, but the guy who had the solo totally rocked out and jumped into contention for a solo award by actually putting some emotion into his performance. APC closed with "Hollywood," which I thought was, hands down, the most solid performance of the night to that point. The soloist was dead-on, the arrangement was incredible, and the group executed the entire song brilliantly dynamics-wise. I pretty much loved everything about their closer, and thought they had second place locked up, unless the Crosbys were a train wreck.

Mike C: Last up, we get the much-celebrated Binghamton Crosbys. I like the way they took the stage--exuding confidence, but not smug. Good look with blazers, dress shirts and jeans.

The group started with The Who's "Pinball Wizard." Amazing sound, impressive movement. The group had all of the sound and energy that Ithacappella did last week and then some, with six less men on stage. And that's not meant to take anything away from Ithacappella--it's just a big credit to the Crosbys. Awesome opener and after this one, it was hard to imagine that these guys weren't going to leave with first place honors. Next was Pink Floyd's "Comfortably Numb." The body perc was off the charts here, powerful, well diversified, and perfectly in sync. Last came Chicago's "I'm A Man," including samplings of the Spiderman and Pink Panther themes. I guess there was some sort of man motif going here, but I didn't quite get it. Good movement and sound throughout this one, before the guys opted to throw the choreography into overdrive. Full-fledged step routine toward the close, and then an impressive finish that featured four guys lifting one Crosby up in the air, arms stretched wide. Quite the spectacle, and while I'd caution that this ending wasn't exactly musical, and may not have fit into what ICCA is supposed to be about, I can't deny that it was an absolutely outstanding spectacle to sit back and watch. All in all, I would have liked to see more diversity in the set (something more contemporary, maybe a ballad) but it was still a great showing, and would easily rank in the top five best I've seen at any competition over the last three years. 4.25/5 stars.

Melissa: As the Crosbys were the ICCA Champions a few years back, I had high expectations. Yes, I know that groups change, but something told me that the overall Crosby vibe was going to stay the same. Sure enough, the blazers and jeans were there, the perfect choreography was there, and the showy performance was there. In my opinion, the Crosbys are in a completely different league than most all-male a cappella groups. Whether it's in terms of song selection, choreography, stage presence, or even something as simple as energy, the Crosbys are usually the ones to beat.

"Pinball Wizard" was... loud. The guys' tuning was right on and every single one of them was 110% into the performance. I think that's a rare thing, having all group members engaged and actually moving around throughout the entire piece, but these guys have no problem. Every last Crosby was rocking out as if he was the soloist, and I applaud them for that. I also loved the fact that one of their backing parts was not singing traditional syllables so much as just repeating the word "onomatopoeia" over and over. From this, they went into a Pink Floyd song I didn't recognize, sampling another Pink Floyd song in the middle. The soloist was fantastic, the body perc was everything that earlier attempts didn't quite achieve, and the choreography was just awesome. The last piece was very typical Crosbys, the huge, completely over-choreographed crowd pleaser. This one came complete with rotating soloists, the Pink Panther theme, a dude in the air, a step dance break--I feel like they just sat around a table and threw out crazy ideas and then said, "yes, let's put ALL OF THEM into this song." While the first and last songs weren't exactly anything interesting arrangement-wise, the visuals blew everyone away and kind of made you forget that they were really just singing block chords over and over (perfectly in tune block chords, of course, but not-particularly-innovative block chords). The Crosbys were an excellent way to end the show. I silently thanked the ICCA gods for letting the all-female groups draw slots earlier in the show, as following that set would've been next to impossible.

Mike C: The Pointercounts took the stage to entertain the crowd while the judges deliberated. Solid hosting group. They had a well-diversified set of songs, including "Gone," "Mad World," "Ignition (Remix)" and "Takin' It To the Streets." I'm glad the Crosbys were there, because it's an awkward thing when the hosts far outshine any of the competitors. The Pointercounts put on a great show.

Melissa: I love the Pointercounts. There's something to be said about a group of (mostly) music majors that can pull off an R. Kelly song and not look completely ridiculous while doing so. I liked the repetition of "Howie Day" as backing syllables in "Collide," loved the old-school N'Sync, liked the addition of perc to the normal piano-only versions of "Mad World" and "Hallelujah," and loved Joe Brainard's incredible breath control on their closer. The Pointercounts have outstanding blend, choose excellent songs, select fabulous soloists and are always entertaining.

Mike C: On to the announcement of awards and placement (all of which you can watch here). I can't lie--I was surprised with a few of the decisions here. The A Sharps' soloist from the Saving Jane song, and APC's soloist from "Behind Blue Eyes" shared Outstanding Soloist honors. Personally, I would have picked APC's "Hollywood" soloist over either of them, and maybe one of the first two Crosby soloists as well, but I suppose these were good picks in their own right. The award for Outstanding Arrangement went to the APC director who arranged the group's whole set. Kudos to her for that. Outstanding choreography went to the Crosbys for their whole set. There was little doubt on that one. No award for perc, which had to be a let down for the APC guy, but then, I guess there wasn't much competition for him to justify giving out the award. On to placement, I was very surprised to see the A Sharps place third. I don't mean to take away from them, but outside of the middle song, it just wasn't the sort of set that places to me. This created the question in my mind of whether APC or the Earth Tones were going to get the snub. The Earth Tones took first runner up, answering that question. I felt bad for APC after what must have an 8+ hour drive, only for this sort of finish. At least they picked up some awards. Crosbys won it, and encored with what I can only assume is a traditional song for the group.

Melissa: I was floored that APC didn't place, but pretty much agreed with the judge's decisions overall. There was no reason to give out a VP award; as I said before, I've rarely seen a female group put out any significant competition to any male VP, and the Crosbys didn't have any perc that I can remember. Anyway, I enjoyed the Crosbys inviting their alums to come up onstage and perform their encore with the group, but was definitely surprised that the A#s placed ahead of APC.

Mike C: The Crosbys and Earth Tones will go on to semifinals in Connecticut on March 31.

Overall, not a fantastic competition, but it had some real highlights to it. It was a pleasure to see the Crosbys and Pointercounts in action, and the production staff and facilities were great for this one.

60 photos from this show are now available when you Facebook friend me here.

Mike C's Picks:

Overall Placement:
6. Binghamton Harpur Harpeggios
5. Albany Serendipity
4. Potsdam A Sharps
3. Albany Earth Tones
2. NYU APC Rhythm
1. Binghamton Crosbys

Best Choreography:
3. Crosbys, "Hey You"
2. Crosbys, "Pinball Wizard"
1. Crosbys, "I'm A Man"

Best Soloist:
3. Serendipity, Untitled Saving Jane song
2. Crosbys, "Pinball Wizard"
1. APC Rhythm, "Hollywood"

Best Vocal Percussion
1. APC Rhythm, Full Set

Best Attire:
3. NYU APC Rhythm
2. Binghamton Crosbys
1. Albany Serendipity

Best Overall Song:
3. Crosbys, "Pinball Wizard"
2. Crosbys, "I'm A Man"
1. APC Rhythm, "Hollywood"

Melissa's Picks:

Placement:
1. Crosbys
2. APC Rhythm
3. Earth Tones

Soloist:
1. A#s "[Untitled]"
2.Crosbys "Hey You"
3. APC "Hollywood"

VP:
1. APC guy for the entire set

Arrangement:
1. Crosbys "Hey You"
2. APC “Hollywood"
3. Serendipity "Somewhere Over the Rainbow"

Choreography:
1. Crosbys for the entire set
2. Earth Tones "Only You"
3. Pegs Janet Jackson medley

ICCA Official Results:

Overall Placement:
2nd Runner Up: Potsdam A Sharps
1st Runner Up: Albany Earth Tones
1st Place: Binghamton Crosbys

Outstanding Arrangement: APC Rhythm, Full set
Outstanding Choreography: Crosbys, Full Set
Outstanding Soloist: Potsdam A Sharps, Untitled song by Saving Jane; APC Rhythm, "Behind Blue Eyes"