Farnham frolics for fanciful fun

O
n Sunday, Nov. 17, Newcastle was privileged to enjoy the unique musical stylings of Jason Farnham. As the second concert of the Weston County Concert Association, season 2019-20 began, it became clear that this was not an ordinary concert by an average musician. Instead, we in the audience were entertained by a young man who not only took his talent seriously but also filled it with an original whimsy that was irresistibly captivating. 
I have read where Jason was described as a cross between Victor Borge and Schroeder (from Peanuts). After this concert, I’m not sure I can agree with that. Was there comedy in his music? Yes! Did he play on a tiny toy grand piano? Yes. But what he brought to the Crouch Auditorium was so unique that comparing him to anyone is a bit pointless to me. But I do get it. He is funny, and he played a toy piano almost as well as a real one, even though that toy was purposely out of tune.
Farnham began the concert by playing the “Peanuts Theme,” alternating between the grand piano and his toy grand piano, all the while giving a smooth and funny banter to the audience. His threat of playing 90 minutes on the toy piano loosened us up instantly. Of course, that was an empty threat. Most of the concert did take place on the real piano. Farnham also brought to the stage a wide variety of styles that included bossa nova, blues, boogie-woogie, rock, classical, jazz, and dance band.
His skill as a musician became apparent the moment his hands touched the piano. He played upside down, laying on his stool with his hands out of his line of sight. He played facing away from the keyboard, his arms and hands stretched out behind him. Whether standing or sitting, his skill was amazing. 
I loved it when he tried to play the cancan, and the music was displayed upside down on a screen. First, he attempted to play it the way it was shown, which turned out to be a disaster, but very funny as well. Of course, the tech who displayed it like this couldn’t correct it because he was on a coffee break. Farnham finally laid down on his bench with his head below the keyboard and played it the correct way, but he was upside down. Farnham then seamlessly went from the cancan to Franz Liszt’s “Second Hungarian Rhapsody,” blending those tunes into one as if they had been written together from the onset. The whole number was a joke that was taken almost to the point of breaking but stopping just short of ruining the farce. That is the best kind of humor, and the laughs were constant and satisfyingly pure.
Farnham sang along on several of the songs. His renditions of “Great Balls of Fire,” “Blue Suede Shoes,” and “Folsom Prison Blues” were outstanding. His voice is smooth on the ears, and his intonation is spot on. But I think the range and quality of his voice were best presented as he sang a haunting version of Chris Isaac’s 1989 hit song “Wicked Game.” As he flipped up in his falsetto for those high notes, it brought goosebumps to my arms. It was beautiful, mysterious and sad all at the same time.
My personal favorite part of the show came about halfway through the first act. Throughout the performance, Farnham played a few original compositions. And his skill at writing music is advanced. But the piece he wrote for his wife, Lisa, was most beautiful. It was called “Lisa’s Song.” There was a richness to the harmonies that you don’t get in most music. It was apparent that Farnham has received a lot of training in music theory because his choice of chordal progressions was quite advanced. But it was also easy to follow. However, it was in the melody that real art came through. The best music, for me, is where the emotional quality of a piece takes over and leads all other aspects. This usually is expressed by a good melody. An audience member, later on, asked if he ever wrote any words for that piece, which he hasn’t. Music as beautiful as “Lisa’s Song” doesn’t need words. Sometimes I think it’s best to let the music do the talking, and this one sung out clear and sparkling of Farnham’s love for his wife. I don’t think it gets better than that.
“Always leave them wanting more,” P.T. Barnum once said. Farnham is an excellent example of how true this is for a successful performance. During the show, he had the audience participate several times, singing along with him. Newcastle was willing to belt it out, whether it was “King of the Road,” by Roger Miller, or the encore, “Good Night, Irene.” But, I think people had more fun during the climax. Just before the end of the concert, Farnham declared that we were all temporary Italians. He then led us into a fun-filled rendition of “Shaddup You Face,” originally made famous by Lou Monte. It was fun, funny, and a perfect way to bring us into the last bits of the concert. I think his choice of putting this song near the end was brilliant. He received a standing ovation by the audience and then gave that short encore “Good Night, Irene.” I’ve never seen a concert where the encore brought the audience into the show one more time. It was a perfect way to leave us wanting more.
The concert was well attended, and it made me proud to realize how well this went for Farnham. 
“This was the most CD sales I’ve had on this tour,” Farnham told me after the show. With only seven more concerts left to his 27-day tour, this is quite a good showing by the people of Newcastle. The few CDs he had left fit into one small box as he packed up. 
Bravo, Newcastle! I always want to find good things to say about this town. You never fail to make that part of my writing easy.
I want to give a shout out to the arts council as well. Once more, you’ve been able to get an act here that was pleasant, family friendly and very talented. I can only imagine how hard that must be. Once more, I am reminded of how abundant life is in our little out-of-the-way community. Well done. I am looking forward to more from the concert series, and my calendar is marked.