Month: October 2025

Big Show: Fireworks

Fun kersplosions in the sky may be limited to Disney World, but they are a fun show.

Jonathan Meur mentions fireworks in re NYC (useta be a thing) among other festivities in the indie “December by the Isle of You.” It’s a love song.

KIMSUNGHOON prefers AI to express the joy of the “Holiday Fireworks Rock Show.” It’s soft rock, more ballideering.

OKXO gets all meh with their “Hell of a Christmas.” Old fireworks ring in the new year like their club rock carried them through one protracted week-long yawn.

Subway Porno’s “Christmas Song” might include New Year’s with the fireworks reflecting in the glasses of champagne. But, it’s an adorable indie about nothing in particular.

Big Show: Radio City

The big show in NYC around the holidays must be the Radio City Music Hall Rockettes. Flesh and agility, just like Jesus preached.

Lea Michele includes this shindig in her usual annoying pop “Christmas in New York.” Lots of yelling, i mean vocal range.

Glenn Crytzer scours the world for the best Christmas show, but settles his big band stylings for “Christmas in New York.” Swingin’.

Darryl Gregory explores his Xmas sensuality in his youth when “I Fell in Love with the Radio City Rockettes.” He’s getting his kicks, get it? Folk American rock that may require therapy.

Big Show: Standup

Comics squeeze dollars out of any venue they can. Xmas day event?? Pay is better than family! Besides, the trauma fuels the humor.

Frank Oz as Fozzie Bear kills and dies in the “North Pole Comedy Club.” He’s da bomb.

More raw, “The Bob Narley Show Christmas Comedy 2006” is a Pete da Elf special that runs the gamut of insult to injury.

“Holiday Road Comic” is the exceptional if improvvy rock ballad from Matt Braunger & Mike Phirman about whether there’s anything such as a Xmas night show. The screaming and weeping suffering tickles me.

Big Show: Concert

Musicians gotta eat. They’ll perform shows where and when attendees can pay. Tickets for a live gig make an excellent present. And they’ll provide an excuse to bail on that family gathering.

“Mom Speaks” is that experimental drowning out of spoken word with electronica that seems humorous on one or two levels. Pete Miser sets up the ‘rents for that elementary school assembly.

On the other hand, the concert halls might all be closed. “How Will You Remember This Christmas?” sings Christopher Lennertz (feat Kathryn Gallagher) with haunting pop about faulty recall.

Then there’s the concert tickets you can’t return after that holiday breakup, according to Anna Thompson’s “Christmas Song (Sad).” A country voice over a slow pop track equals an alt moper.

Da Epic Squad get self referential when they offer to “Screw Last Christmas.” It’s rap, but they admit their concerts are ‘noise.’ (Yeah, it disses G. Michaels.)

The Henry Road claim to be “Too Hip for Christmas” when they monotonically chant about being too old for concerts now. Millenial angst with spot on uncategorizable indie.

Big Show: The Christmas Dance

For the exclusion, the Jesus formal beckons to whities from gens ago.

Darren Criss bounces back from the Glee series with vapid pop in “Christmas Dance.” He’s asking. For this one number.

Mirthyful Sleight sum up all the shenanigans of the season into a “Christmas Dance” rigamarole. Metal protestation.

Chaz Kangas updates us with the grownup mixer “Christmas Dance.” It raps, it polkas, it complains. It’s subtitled ‘The Christmas Travel Song’–so it IS another metaphor.

Telamor daags us back to an actual “Christmas Dance Party.” This indie pop reminds us to see and be seen. to be cool. I guess.

We will dance and sing for Christ our holy king, proclaims Wilder Adkins in the quiet folk of “Christmas Dance (Snow Drop).” No grinding slow dances then.

Musicalité turn our celebrations into a swirling stomp circle of ho hoho-o-o ho-o with an old folk shindig of a “Christmas Dance.” Just when it gets going… it’s gone.

Big Show: Winter Formal

The December after-school dance was not a warm up for proper prom; it was ‘cuz teens kept breaking up and dating new.

Speak’s “Winter Formal” seems to be working out some issues with rap and chipmunk filter. Make a meme of it!

Tough Ghost’s “Winter Formal” spirals with hard rock over the racing hormones of box-stepping with that one. It’s not all good news.

Dead End Stanley is more hopeful in their “Winter Formal,” but that’s not all it takes that confidence not at all. Unplugged rock.

Faux Real mixes EDM with announcements for Pinewood High in their mind melting “Winter Formal.” Classy or nasty? You decide.

The garage rock of awkward first love shares the pain in Farabee’s “Winter Formal.” Am I dreaming?

Big Show: Kwanzaa

Observing Kwanzaa entails ritual to the point of grand festival as well.

P-train’s “P-bar Kwanzaa Special” goes BLUE ALERT for no particular reason, just homophobic slurring. But the AI of electronic rap battling needs some work.

More traditionally, the children in the cast of ‘Christmas in our Town’ holla out “Kwanzaa Celebration” with all the percussive backbeat you can handle. All principles are listed.

The adult Voices Raised LA Vocal Collective For Social & Environmental Justice bring those “Seven Principles” to the forefront with heavenly harmonizing. That’s a show.

Big Show: Big Festival

You know who knows how to throw a festival in December for God???

The Minus Five party retro rock for their “Festival of Lights.” Man that’s got me dancing.

As a lounge number “The Festival Of Lights” by Barlow & Smith comes in as a tango. Seductive, even if poorly recorded.

Holographic Crew tries a BLUE ALERT electronic rap for another “Festival of Lights.” This might be a sacred number. If it’s anything.

Narrow Frequency uses AI to culturally appropriate their “Festival of Lights” as a watery metal celebration of Christ. Still not sure what i’m hearing here….

Ted Pearce returns us to traditional Hebrew traditions with a folksy “Festival of Lights.” It’s bi-lingual, oddly upbeat, and ultimately rocking.

Big Show: Festival

Christmas might be the festival of god, but BLUE ALERT MCF4dden sings about “Santa tha Rapa (Weihnachten BDSM)“–that’s not a Deutsch misspelling of rapper–who is up to No good At All. OMG. Raspy rap.

To balance out that degradation, saccharine country rock celebrates the festival of love in “Hoofbeat Street.” Not sure where this thoroughfare is, but i presume there’s sleighing left and right. Corny as high as an elephant’s eye.

Dated mixes media for the Lovecraftian horror of “The Festival.” Spoken word bordering on rap, this descent into rural tradition may cause unnecessary yearning for urban overcrowded Santalands.

Further, “The Festival” by the H.P. Lovecraft Historical Society takes ‘Wassailing’ and twists the merriment into madness, as sometimes does occur. Help!

Ye Banished Privateers preach to concertina in their “Festival Days.” BC, you know, celebrating Christmas was illegal once. So cut it out. Spoken.

Let’s settle on the ironic side eye for Hallmark Christmas festivals as garage rocked by Hidden Horizon in “The Day After Halloween (It’s Christmas Again!).” Ha ha ha.

Big Show: Mummers

Mummers presented (in garish masks with elaborate miming) death and resurrection, often in the Olde Country about Sir George. But then, there was also Father Christmas. Mumming is still a bit of a Xmas trad in England today.

Or, Newfoundland (where they seemingly can’t afford masks so use rags on their heads). As shown by Simani in their “Mummer’s Song.” Celtic as heck. Sean Panting remembers Covid with the parody “Mummers, Nice Mummers, Get Lost.”

Celtic to the point of translation, Chronilus gives us “The Mummers’ Dance.” Cuttin’ rugs there in Seattle.

“The Mummers are Here” proclaim the cast of ‘The Christmas Schooner’ finally with proper pomp and circumspect.