The Best I’ve Seen highlights the very best in collegiate a cappella, as seen in the admittedly biased and limited view of the author.

This time, we share the best incorporation of attire into performance.

There are many different ways in which to incorporate what you wear into a cappella performance. A group like Yale’s Dukes Men put on tuxedoes and put on a certain air of distinction. A group like Potsdam’s Pointercounts wear baseball jerseys, and exude an aura of fun and team spirit. Still yet, you have ensembles that put their threads to functional use, like Brigham Young Noteworthy in 2007, wearing black shirts, green ties and pink undershirts, and adjusting their configuration slightly between each song of their championship winning set. It’s entirely possible, though, that I have never seen a more fun, creative, and purposeful employment of attire in a set than what The Buffalo Chips pulled off in 2008.

On the surface, The Chips wore matching baseball tees—a simple enough uniform, demonstrating their unity and a casual tone. But where the real magic came in was the back of the shirts, each with a letter printed on it. Observant onlookers might notice that the letters, combined and de-scrambled, would spell out “BUFFALO CHIPS.” For those who were not so observant, the guys spelled it all out at the end of their ICCA set.

Indeed, in one fluid motion, the entire group spun its backs to the crowd after their last song, spelling out the group name for all to see. It was funny, it was different, and really, what better way to leaving a lasting visual impression on the audience and judges than by putting your name right out there? It was a very smart choice, and subtly indicative of the level of thought and preparation that went into the set. No onlooker could spot the guys carefully arranging themselves on stage for that moment, and there’s no doubt that, had they messed up their ordering, it would have been an unmitigated disaster. They pulled it off—still singing their hearts out, performing the heck out of their choreography up to the very end, before spinning around, making it look effortless, and leaving the crowd with that final image. It was best use of attire I have seen.

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The best I’ve seen highlights the very best in collegiate a cappella, as seen in the admittedly biased and limited view of the author.

This time, we share the best collegiate a cappella performance venue I’ve seen

Hosmer Hall at the State University of New York college at Potsdam is an exceptional performance space, and specifically so for a collegiate a cappella competition. It’s spacious enough to accommodate a large crowd, and yet small enough to have a bit of a homey feeling to it. The hall includes elevated seating in the back to make sure everyone can see. There’s a sizeable stage enough stage to accommodate plenty of movement, or creative positioning. The sound is quite good, highlighted by acoustic paneling along each wall. Finally, the hall itself is quite aesthetically pleasing, with a sharp, clean look, highlighted by royal blue and pine coloring. It’s the best space I’ve seen for collegiate a cappella performance.

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Newsline: In case you missed it, USA Today had an article on the recent growth of a cappella in the mainstream. In addition, The Best Week Ever Blog covered the same topic at the end of last week. Be warned, their outlook on a cappella has not necessarily improved since the last time they addressed the topic.

The best I’ve seen highlights the very best in collegiate a cappella, as seen in the admittedly biased and limited view of the author.

This time, we share the best solo I’ve seen in collegiate a cappella.

It has become a cliché in NBA basketball—a vertically challenged broadcaster watches a gifted player soar to the hoop, and throw down a gravity-defying dunk, then comments, “Just once in my life, I’d like to do that.” This line couldn’t help but come to mind, watching University of Delaware Vocal Point’s Alfredo Austin take flight with Stevie Wonder’s “Sir Duke” at 2007 ICCA quarterfinal at Lafayette College. This solo was the perfect combination of silky smooth vocals, stage presence, and a certain it-factor. Simply put, Austin owned the stage, showing a perfect ease and confidence, not to mention the smile of showmanship to help win the crowd to his cause. He rightfully earned outstanding soloist honors for the night, thought the group did not progress to the next round of the competition.

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The best I’ve seen highlights the very best in collegiate a cappella, as seen in the admittedly biased and limited view of the author.

This time, we share the ten best pieces of choreography I’ve seen in collegiate a cappella, in the last three years (Part 2 of 2).

5. “Feeling Good” by The University of Southern California SoCal Vocals, 2008

The movement was inspired here, with some really innovative stuff, highlighted with the entire group forming two lines, which the soloist ran through to wonderful dramatic effect. The movement was just so crisp, and while the sound remained perfectly clean.

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The best I’ve seen highlights the very best in collegiate a cappella, as seen in the admittedly biased and limited view of the author.

This time, we share the ten best pieces of choreography I’ve seen in collegiate a cappella, in the last three years (Part 1 of 2).

10. “Real Good Man” by Drew University 36 Madison Avenue, 2007

This song was a lot of fun to watch, because it was clear that the guys themselves were having fun. Well planned movement here, that built throughout the song, culminating in a finish that saw the group crouch behind the soloist, and the soloist fall straight back into them, only for them to all to rise up together.

9. “Thriller” by The Amherst College Zumbyes, 2007

This was an inspired reenactment of Michael Jackson’s original choreography for this song, that I saw come to life at the 2007 ICCA Finals. Some points off for letting the movement adversely affect the musicality, but points back on for executing the song while having one member dressed in a banana costume.

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