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Thank you!
Those two simple but truly heartfelt words express my appreciation and joy after the show last night in Birmingham. After last year's scheduled show in Huntsville collapsed due to scheduling miscues and descended briefly into acrimony, I was genuinely concerned that the only way I’d ever be able to see this incredibly talented, creative and electric performer on stage would be to travel hours to venues outside of Alabama. Equally I was concerned that once again, this area would be by-passed by another talented performer. I was even more concerned that her management would tell her not to attempt a reschedule in the state to avoid the potential bad feelings. Thankfully Lindsey and her management scheduled a show at Birmingham’s Workplay Theater, one of the best intimate small (live) venues in the region.
The show was my birthday present to myself and a much needed treat for my family. I couldn’t afford the VIP passes, and instead brought four regular tickets for my family and a close friend. Because the show was general admission, I was concerned that my wife (who has major medical issues) would be able to attend. I contacted the venue management to ask about seating and was graciously offered a booth where she could watch the show in comfort and away from the press of the crowd. For myself, I found a small opening on the edge of the stage near the drum set. There, leaning against the stage were two little girls, dressed as miniature versions of Lindsey including costume glasses. A relative kept coming by to check on them and I offered to shield them from the press of the crowd if I could. At 240 and 6’2” I tend to make an effective roadblock for things like that and I can say the girls weren’t pushed away from the stage. It wasn’t necessary.
The audience was as unique as the performer we were waiting for. I saw yuppies, ravers, hipsters, dub-step folks, at least two bikers, a few Goths, a few senior citizens, business professionals, college kids and every one of them mellow and happy… Lindsey’s music cuts completely across the spectrum and doesn’t appeal to just one manner of audience. She appeals to them all.
The opening act was a Los Angeles area musician and rapper in the Long Beach style (dub – SKA). Much to my own chagrin, I never caught his name, but his skills were impressive. He wound up the crowd with a fun, clean set. I caught a number of images of the audience swelling into the venue and the growing energy. After the opening act, the floor crew came out to adjust the lighting, check the stage and prep some of the special effects (including an LED background screen). These were the hallmarks of a slick and very professional show. The lights went down and then it began…
Lindsey opened her set dressed in a white tailcoat that hinted at burlesque and steampunk all at the same time. It was the first of several costumes worn throughout the show. It’s amazing to think that this young woman was only just getting her first real exposure a little over two years ago. I remember seeing her performance videos from shows last year without her band, without the various lights and special FX. Just a tiny sprite of a woman bouncing across stages making incredible music. Yes, for those unfortunate enough to have never seen her perform live, Miss Sterling is very petite (my guess is merely 5’2” at best). Size means little in this case. Skill, showmanship, energy and heart exponentially made her 10 feet tall and produced enough energy to light up the room. This is the same young woman who has had the # 1 Classical Album and #1 Dance/Electronic Album at times last year according to Billboard.
Backed by Jason and Drews’ thunder and lighting, Lindsey was the whirling, pulsing center of the musical storm on the Workplay stage. Moreover, this woman who’s been selling out venues across the country was a seasoned professional graciously and playfully working the audience. Lindsey performed most the songs on her EP as well as the medleys from Zelda, Phantom of the Opera. Another pleasant surprise was when she tore through a medley of Michael Jackson classics including “Billie Jean” and “Beat It” from Thriller. The one part of the performance I was most taken was when she played "Song of the Caged Bird" preceded by a brief video introduction (while she slipped into a ballet costume). I stood there mostly transfixed and found tears on my cheeks by the end of the song. In her encore Lindsey performed a heartfelt version of Evanescence’s “My Immortal” as well as her own “Crystallize.”
As the show let out and we walked out into a stormy ‘Bama evening, I could easily say I’d just seen and heard one of the best shows in my life. This is no idle boast as I’ve seen scores of acts performing in small venues to arenas and festivals. This was in my top five all time and that includes some remarkable shows over 36 years of concert attendance (including Pink Floyd, .38 Special, Huey Lewis, ZZ Top to Marilyn Manson, Hole, Type O Negative to Beats Antique, Gogol Bordello and Evanescence). Contrary to certain performers who judged her once, Lindsey Sterling has the potential to fill medium to large scale venues. She is a force to be reckoned with in the future of music and is one of the best new artists to hit the music scene.
Those two simple but truly heartfelt words express my appreciation and joy after the show last night in Birmingham. After last year's scheduled show in Huntsville collapsed due to scheduling miscues and descended briefly into acrimony, I was genuinely concerned that the only way I’d ever be able to see this incredibly talented, creative and electric performer on stage would be to travel hours to venues outside of Alabama. Equally I was concerned that once again, this area would be by-passed by another talented performer. I was even more concerned that her management would tell her not to attempt a reschedule in the state to avoid the potential bad feelings. Thankfully Lindsey and her management scheduled a show at Birmingham’s Workplay Theater, one of the best intimate small (live) venues in the region.
The show was my birthday present to myself and a much needed treat for my family. I couldn’t afford the VIP passes, and instead brought four regular tickets for my family and a close friend. Because the show was general admission, I was concerned that my wife (who has major medical issues) would be able to attend. I contacted the venue management to ask about seating and was graciously offered a booth where she could watch the show in comfort and away from the press of the crowd. For myself, I found a small opening on the edge of the stage near the drum set. There, leaning against the stage were two little girls, dressed as miniature versions of Lindsey including costume glasses. A relative kept coming by to check on them and I offered to shield them from the press of the crowd if I could. At 240 and 6’2” I tend to make an effective roadblock for things like that and I can say the girls weren’t pushed away from the stage. It wasn’t necessary.
The audience was as unique as the performer we were waiting for. I saw yuppies, ravers, hipsters, dub-step folks, at least two bikers, a few Goths, a few senior citizens, business professionals, college kids and every one of them mellow and happy… Lindsey’s music cuts completely across the spectrum and doesn’t appeal to just one manner of audience. She appeals to them all.
The opening act was a Los Angeles area musician and rapper in the Long Beach style (dub – SKA). Much to my own chagrin, I never caught his name, but his skills were impressive. He wound up the crowd with a fun, clean set. I caught a number of images of the audience swelling into the venue and the growing energy. After the opening act, the floor crew came out to adjust the lighting, check the stage and prep some of the special effects (including an LED background screen). These were the hallmarks of a slick and very professional show. The lights went down and then it began…
Lindsey opened her set dressed in a white tailcoat that hinted at burlesque and steampunk all at the same time. It was the first of several costumes worn throughout the show. It’s amazing to think that this young woman was only just getting her first real exposure a little over two years ago. I remember seeing her performance videos from shows last year without her band, without the various lights and special FX. Just a tiny sprite of a woman bouncing across stages making incredible music. Yes, for those unfortunate enough to have never seen her perform live, Miss Sterling is very petite (my guess is merely 5’2” at best). Size means little in this case. Skill, showmanship, energy and heart exponentially made her 10 feet tall and produced enough energy to light up the room. This is the same young woman who has had the # 1 Classical Album and #1 Dance/Electronic Album at times last year according to Billboard.
Backed by Jason and Drews’ thunder and lighting, Lindsey was the whirling, pulsing center of the musical storm on the Workplay stage. Moreover, this woman who’s been selling out venues across the country was a seasoned professional graciously and playfully working the audience. Lindsey performed most the songs on her EP as well as the medleys from Zelda, Phantom of the Opera. Another pleasant surprise was when she tore through a medley of Michael Jackson classics including “Billie Jean” and “Beat It” from Thriller. The one part of the performance I was most taken was when she played "Song of the Caged Bird" preceded by a brief video introduction (while she slipped into a ballet costume). I stood there mostly transfixed and found tears on my cheeks by the end of the song. In her encore Lindsey performed a heartfelt version of Evanescence’s “My Immortal” as well as her own “Crystallize.”
As the show let out and we walked out into a stormy ‘Bama evening, I could easily say I’d just seen and heard one of the best shows in my life. This is no idle boast as I’ve seen scores of acts performing in small venues to arenas and festivals. This was in my top five all time and that includes some remarkable shows over 36 years of concert attendance (including Pink Floyd, .38 Special, Huey Lewis, ZZ Top to Marilyn Manson, Hole, Type O Negative to Beats Antique, Gogol Bordello and Evanescence). Contrary to certain performers who judged her once, Lindsey Sterling has the potential to fill medium to large scale venues. She is a force to be reckoned with in the future of music and is one of the best new artists to hit the music scene.
