Year-round Yuletide oddities
AI squirrels around the idea of a “Christmas Rodeo” until we get a mischievous exploration of elf downtime. Electronic country pop supposedly by Trinity Jones.
In “Santa’s Rodeo Dream” AI hoots and hollers the country rock so know what bronc busting must feel like. Epic Powers Potion goes for it.
Sandra Tingalay gets quieter (with harmonica) for a better AI “Rodeo Christmas.” Recognizably country western.
Riding and roping take no holiday, well maybe a little.
Gary Roberts’s “Christmas Rodeo” is a laid back gala that definitely lasts more than eight seconds. This grampa country sets the rhythm machine to mashed potato.
Buffalo Bill Boycott waxes shaggy with the tale of the new holiday dad trying to watch the baby when mama goes a’shoppin’. “Diaper Rodeo (Holiday Revised)” is a spoken word ruckus when the infant gets loose.
The Orange Wolves sotto voce their harmony for another “Christmas Rodeo.” A chilling blend of folk and pop that might be meant for ghosts.
The solo show, the recital, has broken many a budding prodigy. The pressure! For Jesus!!
Rob and Tony allow that in a “Virtual Xmas” the carolers perform No doorstep recital, just processor code. Still, a show. Electronic pop, yet whimsical.
Busta Rhymes fronts Bieber for a reductive “Drummer Boy” that spotlights the kid’s show as a one man band. Rap, like.
“Santa’s Southside Symphony” by JJMAJ and The Unpolished Brass begins as a one-person lament, then–gets drunk. IT’s like Dixieland and rap had a baby.
Lilac Roadkill is none too kind when describing the “Nativity Scene” they came across. Indie dissent.
Joshua Jesty gets reflective from the annual “Nativity Scene” with his spoken word folk rant. There’s name calling.
Garage odd, “Why Did I Put Mayonaise On The Nativity Scene?” by SLUGGISHA TAPES is less public show and more embarrassing table spread.
Bryan Mangieri celebrates a nasal country “Trailer Park Nativity.” It’s a state of mind. Like Alabama.
The cast of ‘Nativity! The Musical’ take us behind the scenes for auditions with “Our School Nativity“. Therapy will be required later.
Matt Aaron has that nagging pain about how being “Always a Shepherd” kind of bites. It’s a class thing. Cool indie.
Little Johnny played Jesus in Fear Boner’s “Nativity Captivity“. He was the best Jesus this side of the Mississippi. Something about sex appeal I’m guessing given the tone of this partially metal rocker. This might mess you up a little.
Dancing on Fire has plans for “Xmas Steve” when he moves in on their love interest. But when they go to the Christmas play together…. Headturning alt rock.
Erin Blackstock tends more serious with her “Country Christmas” rose colored glasses. School plays were apparently always sweet as pie. Tolerable country.
Lenz has enough to deal with in the indie diva attack “The Guilt of Others“. But, then he recalls, I played Pilate at the Christmas play. Wash your hands of that memory, chappie!
God appears in human form in a lowly barn, what could go wrong?
The elementary school kids are so cool they “Don’t Wanna Do No Nativity” in Edgy Productions’ school show. Never too young to learn ‘meta’ in an internet world. Vaguely rock.
I remember once I even played the part of the shepherd in the Christmas play at church, bemoans Bill Anderson in “Still Believing in Christmas.” Nobody’s going to tell him not to say Christmas. Which is probably true.
One of the showstopping numbers from ‘Nativity: The Musical’ is “Hollywood are Coming,” harking to the heralds. It’s motivational show tune (voices raised).
The “Killer Robots from Venus” are aliens who move in next door to The Arrogant Worms. Other neighbors are suss, but we like them: They applauded for my kid at the Christmas play (He was the best shepherd). Awesome folk in denial. (A better showing perhaps than when they were the ox in the Christmas play and stepped on the baby in their klezmer “Christmas Sucks!” Oh the fiddling!)
Most Christmas plays illustrate Bible stories for the masses, like they did nearly a millennium ago. We tend to favor newer Testaments nowadays.
My little boy was a wise man this year, warbles Reba in “The Angels Sang.” Pop country about misting up over the Lord.
Not everyone gets to be in this rite o’ passage public humiliation. Like Caitlyn Dyke as told in “Preacher’s Kid.” Indie country with a wistful bent.
The cast on a spectrum is “Merry Mary (Christmastime Is Here)” by Tomás. This messy rehearsal of a kidshow is both entertaining and prophylactic. Other peoples’ kids, amiright?
Another Sunday Afternoon makes merry metaphor of “The Christmas Show.” This indie likens all of Winter’s splendor to a production. Snowmen assemble!
Likewise, Jingle Bots compares all the hullabaloo of the holidays to “The Christmas Show.” Big band, though AI. And the crowd goes tender and mild.
SingIt Pop uses the lights strung and blinking for their “Electric Christmas Show.” Pop with a heavy beat. EDM even.
The Holiday Voices bebop the “High School Christmas Musical” life over caffeinated, hyper sugary teens we expect. Emerging talent.
“Footprints in the Snow” has something to do with a Christmas show. But Kaneidog (feat. Babs) uses more AI than sense for me in this shrill pop.
Mary J. Blige soothes the R+B with “Christmas in the City.” Mandatory for NYC Xmas is a show at Radio City Music Hall.
Edgy Productions addresses thank yous for attending the Christmas Show. “Yours Sincerely” is rhythmic kid rock that fills the bill.
One of those wacky nuns in ‘Nuncrackers’ belts out “All I Want for Christmas” is a one night stand at Carnegie Hall. Practice practice practice, goes the joke.
AI attempts an awkward performance when “Santa’s in the Christmas Play.” OG R’n’R from Richie and the Rockets.