The Idols (particularly Jason Castro) in my backyard

The American Idol Tour ended yesterday, and I was lucky to catch the show when they rolled into Bridgeport, CT last week.

It was raining hard that day and I initially thought that they were going to cancel the show. But everyone came, girls with ironed-on Idol photos on their t-shirts, and moms with their digital camcorders, and dads holding umbrellas for their giddy kids. I was in line, waiting just like everyone else, and just as excited. I kept thinking, their tour bus is just around the corner. If it were better weather, I would have gone there and see if I could meet anybody. But it wasn't. And I wasn't about to risk getting pneumonia just to see Jason (besides, I cannot imagine his dreads getting wet!).

I sat towards the side of the stage, about three to four rows in front of a raised platform. I prayed that the Idols would swing by to the platform so we could at least take pictures. I sat beside a family of three – Mom, and her two daughters, all excited as heck. Something tells me that I was in for a lot of rushing and feet-stomping to come.



The lights dimmed and out came Chikezie to the delightful roar of the crowd. He sings that Eric Yamin staple, Donny Hathaway's "I Believe to My Soul". His three-song set is pretty much what you would get from him – a lot of soul, very solid vocals. He heads over to our side of the stage and gets on the platform, and just as I suspected, the two girls seated beside me rushed past me with their digital cameras out. "Sorry about that," their mother apologized. No problem, I said. Besides, I would have done just the same.

Sweet Chikezie told the crowd that it's Ramiele's birthday today and that we should greet her a Happy Birthday. We did, and I hope that she is motivated to perform really well tonight. Unfortunately, that was not the case. She came out in all her sparkly glory, performing a bit of choreography and singing Jackson 5. But it was all wrong, and none of the notes hit. I tried my darndest to act interested, but she left me slumping deeper into my chair. I looked across the crowd in front, and some of them were left open-mouthed, staring at her uncomfortably. I felt embarrassed for her. I really wanted to root for her, being Filipino and all, but she made it very difficult. Good thing she sang her second song a lot better, but she needs a lot of goodwill to make up for the first one.

And that goodwill? Just came in the form of Michael Johns. Seriously, I love this guy. He gets so much flak for his song choices, but he nabbed a few that were genius, IMO. He opened with the Queen medley, then the gorgeous "It's All Wrong But It's All Right", and ended with the only song that got me on my feet and singing along – "Dream On".

Then Kristy Lee Cook came out, and, although I am not a fan, I do admit she is lovely to look at, with her trademark tight jeans and sparkly tank top. I saw the guys in front and center just staring at her, transfixed.

Carly next came out in dramatic fashion, rising from a trapdoor at the top steps with a wind machine to great effect. As usual, she sounded great, although I prefer she sang "Alone" if she wanted to sing Heart. There was a cute Carly banner in the front row and I'm sure she noticed it.

Similar to Carly's entrance, Brooke White appeared from a trapdoor, but this time, from the front section of the stage and with a baby grand. She sang "Let It Be" and was just as heartfelt as when she first sang it on stage. She ended with her own version of "Yellow", which I was surprised to hear was included in the tour. The remake was part of her indie album, and it was obviously she who suggested it. I'm glad they included it because her version was really good.

It was time for the Bottom 6 U2 number, and Brooke ran to our side of the stage, where it was unlit, to put on shoes. We were screaming her name and waving to her, and she cutely waved back and put a finger to her lips, so we would not give her away. "Pride (In the Name of Love)" is a great number, and I actually wished that the rest of the Top 10 were there to sing it. But it featured a small duet between Michael and Carly, reprising that impressive number they did on the Ellen show in Chicago after they were both eliminated. It was a great way to end the first half of the show.

And then there was Jason…

I admit I was close to losing it during intermission.

Earlier, during Carly's set, while the lights were on, I saw Jason coming up the back steps, probably to talk to someone on the band. Only those people seated on our side could see the back steps, and I sort of lost it and yelled his name. I was not mistaken. His dreadlocks are too distinguishable to mistake him for anybody else. But just as he suddenly appeared, he quickly went. That was my first Jason sighting of the night and it simply whetted my appetite for more.

And at intermission, I knew Jason was up next, and I was bummed that people would be going in and out of their seats while he was singing and that I might get distracted. I also wanted to be closer to stage. Which is why I summoned the courage to ask the nearest security personnel and ask if I could hang out next to the raised platform just for Jason's set. I figured I could get a good view for pictures. He politely turned down my request to hang out beside him. But thank goodness for small miracles (and for asking nicely), because he then pointed to an empty seat beside him, which was also next to a little girl. He said "You may want to sit there as that one's empty". That seat was right smack in front of the raised platform. I was shocked to learn that no one was seated there, and asked the girl nicely if I could sit beside her for a while (her dad was seated behind her, so I really tried to be nice). She nodded her head, and my excitement just ratcheted up tenfold.

After some Guitar Hero promotions, the lights dimmed and Jason came out. Just like that. He sat on the stool in the center of the stage and began that sweet ukulele song of his. I didn't stand up and cheer. I didn't need to. He was there, albeit in the center. I could tell he was not the type to go from one side of the stage to another and reach an arm out to fans. But I was a lot closer than I originally was, and there he was, under a spotlight, eyes closed and singing with his heart on his sleeve.

I looked around and everyone acted the way those girls were in the Pit when Jason first sang this song: still and mesmerized. It was like listening to him sing in a coffeeshop, all intimate and warm inside. He ended the song and the crowd was rowdy with cheers and screams. But only for a while. He segued into the song that earned him a spot to Hollywood, and one that I have been waiting to hear – live, natch! – for a long time. "Crazy" was just as cool and fantastic as others have heard it. It was beautiful to listen to, and should really be a single on his album (should he come out with one – and he should!). He then sang "Daydream", the song that cemented him into the public consciousness for the very first time, and it sounded just as lovely as when I heard it the first time. When the song ended, there were smiles, a few waves, and then, just like that, Jason was gone.

It was nice to see that all the songs Jason sang showed him at key moments in his AI experience, as if he was telling a story. The song when he first broke through in brilliant fashion ("Somewhere Over the Rainbow"), the song when he first broke through to Hollywood ("Crazy"), and then the song when he first broke through publicly ("Daydream"). It was like, look at me and see what I've become. How am I doing?

Meanwhile, I was there, and, in contrast to some of the fan reports that I read on the Web about some rabid reception for Jason in other venues, Bridgeport's reception for Jason might sound a wee bit subdued. But I look at it differently.

It was the kind of reception I would love to see Jason get at the peak of his career. Not the screaming fangirly kind of reception, but a raucous cheer of respect at the end of each song. The silence during songs would be indicative of the desire to truly listen to whatever message Jason wants us to hear. Being mesmerized by his sound, his music, and being attentive to the gift of song that Jason is handing out to us. It was like being in a coffee shop the size of a football field. Jason's shows would be teeming with fans who just came for the music. That is how I see that night's show in Bridgeport. It may not be the noisy kind of fan support, and granted there are non-Jason supporters in the house, but I still felt a lot of Jason love that night. And it's that kind of love that made me focus more on the music, and made me appreciate him even more as a musician. That night showed that he will be all right playing in an intimate venue or in front of an arena crowd, that his voice and performing skills can handle either size. I now know that he will do just fine live.

I just wished I could hold on to him just a bit longer. Of all the Idols who performed that night, his was the set that seemed too short. And he left without fanfare, in the same way he came onstage. Like a thief in the night, was our Jason. But his songs live on, and that is how they will always be.

The other three

Syesha came out in an adorable afro, singing Rihanna and doing a great job of it. This being her city of birth, Bridgeport gave her a rousing welcome. And it seemed that Syesha put some extra intensity in her performances, most likely inspired by her family sitting front and center. She called them out after her first song, and they stood up like the proud family they were, which was too cute.

Syesha probably was my favorite female performer of the night. She was at ease, and displayed more emotion than she ever did in her full run on AI. Her vocals were strong and confident, loud and clear. She really changed my mind about her. I was never a fan, but hearing her sing that night made me rethink my feelings about her.

And then David Archuleta came out. I have never heard such loud screams before in my life as the ones I heard when this kid appeared, Brooke-style, from under the trapdoor in a haze of smoke and singing "Angels". He sounded the same as he always was on show – gaspy but otherwise decent. His attempt at in-between banter was charming, even though the amount of giggling kept doubling each minute. He did a bit of research, too, saying how lucky we were that John Mayer came by before they did. That impressed me.

He really seemed surprised at the amount of support he had. I must say I was charmed off my seat by this kid. I think you have to experience the Archuleta charm in person in order to understand what millions of tweens have known since the very first week in AI.

I was pretty sure I was going to be trampled on at some point, and I was bracing myself for it. But when David headed for the platform in front of me, I had no idea how big a surge it was going to be. Suffice to say, I nearly fell headlong into the crevice beneath the platform if it weren't for the security guy flinging an arm out toward me. Crazy but true. In fairness, it was partly my fault. Instinct told me to stand up to snap a picture as soon as David started walking towards us. Had I stayed seated, the worse I could get was a concussion from a slew of cameras whipping up behind my head. But it was hard to stay seated when you've got David a few inches in front of you. You simply have got to record it for posterity.

That went on a couple more times, since David would walk around with each new song. And I think I was better prepared each time. I did feel very proud of him. He seemed genuinely happy and he seemed to enjoy the experience. It was like watching your kid brother finally hit the big time. It was great.

He introduced David Cook quite hilariously, saying how great it was to "open for this guy" every night. And if you thought David Archuleta's screams were unlike anything I heard before, wait till you hear the screams for David Cook.

They were massive, and really shook the whole place up. I felt my heart vibrating in my chest. It was crazy. And David came out, similarly via trapdoor and amidst smoke machines. He sang "Hello", which I didn't really like. But you don't really think about that at all when you've got thousands of screaming fans trying to give you a heart attack.

The good thing about David Cook is that he knows how to put on a show. He's not just a good singer, but a great performer as well. He takes in the whole crowd, from side to side, he looks over at people, and puts a lot of energy into his guitar playing. He uses props, and can hold his own in terms of banter. He knows how to get the crowd to interact with his set, asking them to sing along with him or cheer harder. He is simply great, and I can tell he will have a long career after this.

At one point, he asked everyone to take out anything they have that lights up – cellphones, glow sticks, cameras – and just wave it in the air while he takes a snapshot of the arena all lit up and aglow. It was a great moment, and I took pictures while he took pictures. Then he asked about some crossword puzzles that were tossed up on stage for him, and I think there was a message of sorts scrawled on the cover that he thought was funny. And at one time, Michael Johns – in white shirt and tennis shorts – came onstage while David was addressing the crowd and Michael paused a bit and then kept right on going offstage. It was great.

He sang a few more songs, and I missed hearing his "Always Be My Baby", which to me was his best and most original performance. But I guess we'll be hearing it on his first album, then. Afterwards, everyone else turned up for the finale. It was great to see Michael doing his dork dance, and the two Davids doing a lame catwalk, David Cook wearing a funny-looking wig-slash-fro, and then Jason coming out and turning around to face us – the only time he did so. It was great, and it recapped a wonderful night that refused to let the rain dampen anybody's spirits. It may have rained outside, but inside was warm and full of love for music and personality.

When I stepped out of the venue, I saw that the rain had stopped and that people were all smiles. I love how music has that effect on people. Here's hoping that each and everyone of these Idols continue to induce that same effect for many years to come.

And, lest I forget, here's hoping that Jason outlasts them all :)

An Idol Tour Postscript:

Because this Tour was strangely lacking in collaboration (and no, the Guitar Hero promo spot does not count), I have decided to create my own Fantasy setlist. This is not a wishlist, since the tour is already over. But it would be like Fantasy football of sorts. So, in honor of the nixed "Barracuda" number, here is my Fantasy Collaboration Setlist:

* Chikezie and Syesha duet on "One Sweet Day"
* Chikezie and Ramiele and possibly (yes, I know) Archuleta singing and dancing to Ne Yo's "Closer"
* Brooke and Michael Johns singing "Dream On" together
* Jason featured on drums for "Whisper to a Scream" or "Take Me Out" with Michael Johns and maybe even Cook on vocals
* Carly and Syesha duet on "Why"
* Jason and Brooke on guitars singing "Orange Sky"
* "Call Me" in lieu of "Barracuda" for Carly, Jason, and David
* "Solsbury Hill" for the guys on instruments and vocals
* a rocking number of "I Still Haven't Found What I'm Looking For" with Jason on drums, Cook on guitar, Archuleta on keyboards, and everybody on vocals
*"All These Things That I Have Done" for everybody

There are some performers that are featured more often in my setlist (I am a Jason fan, after all). But I did come up with some really great suggestions. I guess it's back to dreaming for me.

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American Idol Highs and Lows

Yeah, still working on getting the recently-concluded AI season out of my system. Here are the highs and lows of Season Seven.

FAVORITE AMERICAN IDOL SEASON 7 PERFORMANCES

No American Idol season wrap-up would be complete without a list of some kind. So I made two of them: my favorites, and my least favorites. I decided to include all the performances starting with the Hollywood Round, and I've included Finale and sing-outs as well. Unfortunately, no audition piece made my jaw drop this year, unlike in season five, the only season to do so (see Taylor Hicks and Paris Bennett, both of whom sang twice and were amazing in both). But I found out that I am easy to please and so, without further ado:

Michael Johns – Bohemian Rhapsody (Hollywood Round)

I missed Michael's audition, and with my sister's constant buzz about him, I was prepared to hate him. Imagine my surprise when he sang Bohemian Rhapsody with conviction, and hit all the right notes.

Carly Smithson – Alone (Hollywood Round)

I was never a fan of Carly, she of the constant screech and wail. But I must say I liked her take on a song that Carrie Underwood IMPRESSED ME SO MUCH with. The fact was she phrased the song her own way, and that made all the difference.

Josiah Lemming – Grace Kelly (Hollywood Round)

There was so much hype about this kid that, even though I missed his audition, I was compelled to seek it on Youtube. I thought the British singing accent would grate, but I found it endearing (especially since he said he knew no other way to sing). I loved his rendition of Grace Kelly. It was vocally interesting and, by accompanying himself on keyboards, made himself adorable. Unfortunately, he got cut at the Chair, and that made me sad! But I think he's doing well on his own. I heard he got signed, so I'm looking forward to that.

David Hernandez – In The Midnight Hour (60s Week)

David H was the AI type that usually does well on the show, since he had the typical big voice that many of the other male finalists this season did not have. Except that he was my least favorite. Not only was he not likeable enough, he had this irritating tendency to slow down the tempo of a song even though it was a fast number (see "I Saw Her Standing There" on the first finals week). But judging on performances, this one was my favorite of his. Apart from it being a terrific song choice for his kind of voice, his slowed-down type of singing was perfect for this song, as he drew out the chorus to sweet effect.

Garrett Haley – Breaking Up Is Hard To Do (60s Week)

He may have been one of the first ones eliminated in the semifinals, but I will admit that I loved this rendition of his. He stood out to me on the basis of personality (despite having only heard from him that week), and by being among the first to connect to the emotion of a song – a recurring theme for this season. I was really sad to see him go so early (sort of like how I felt when Judd Harris was voted off in week one in season 4).

Jason Castro – Daydream (60s Week)

His performance captivated me instantly. Add to that, his video package showcased his good nature, and the show's very first guitar appearance made an impact. Need I say more? See earlier blog post on this.

Jason Castro – Hallelujah (80s Week)

As I mentioned before, he sang Jeff Buckley and went straight for my heart. The praise from the judges made my heart swell. To me, this was his best performance throughout the whole season, and the best performance of the season BY ANY CONTESTANT. It had the beautiful vocal, depth of emotion, and solid stage presence that is required of any American Idol showstopper (see Fantasia's Summertime, and Bo's Whipping Post). Plus the fact that he had EVERYONE, from the studio audience to those in front of their televisions, pleasantly surprised to even hear that song sung on American Idol. His performance was both an unexpected surprise and a beautiful revelation.

Brooke White – Love Is A Battlefield (80s Week)

Her unplugged version of this Pat Benatar rock song was a pleasant surprise. And her unique voice that broke in all the right places gave it a beautiful twist.

Brooke White – Let It Be (Lennon-McCartney Week)

On a week where the finalists were sweating out over how to make these iconic songs "their own", Brooke showed them that sometimes it is best to just "let it be". David Cook said it best when he complimented the performance, saying it was "organic". The raw emotion that she displayed in the last moments of her performance was deeply touching, and added to the power of the song.

Chikezie – I Saw A Face (Beatles Week)

This was one of my favorite Beatles songs EVER, and it got Chikezie in my good graces for the time being. He gave it a unique spin (bluegrass! punk!) that complemented the song's tempo, even though his vocals faltered towards the end. It did sound familiar, coming off the wildly successful bluegrass rendition of She's A Woman the week before. But I loved this one because I love the song, and his version did not take anything away from the original.

Michael Johns – It's All Wrong But It's All Right (Dolly Parton Week)

One of the sexiest vocal performances ever on American Idol (neck-and-neck with Mandisa's I Don't Hurt Anymore)! It was bluesy and soulful – two words that were never used on Michael Johns before. He turned a sentimental country song into something more sophisticated and desirous.

Michael Johns – Dream On (IGB Week)

My favorite Aerosmith song ever. Despite what the judges thought of it, I thought it was an amazing vocal. Of course there was a problem with the falsetto scream. Even Steve Tyler had problems with it! And to try to perform such an iconic scream just invited comparisons to the original. But I listen to it over and over and I it still amazes me. And he gets points from me just by choosing the song itself.

Jason Castro – Somewhere Over The Rainbow (IGB Week)

The week the Swaybots fell captive to the ukulele. It's hard to imagine that he just learned how to play it that week. But such are the powers of Jason Castro. This was the week (apart from the Semifinals 80s Week) where his was the best performance of the night. Although it was a night when seemingly everyone else brought their D- and even F-games, this performance still wowed me.

David Cook – Always Be My Baby (Mariah Carey Week)

This was my favorite Mariah Carey song, and I was really skeptical how a guy could sing it. Especially if that guy was David Cook. But he literally blew me away with an awesome emo rendition of the song. It showcased his performing smarts: he managed to hide his vocal deficiencies in the first part of the song by immediately going into it with the electric guitar, and he built up to an emotional crescendo towards the end, inviting all of us to soar with him. While he was known for covers of covers, this time, he was his original self and he was damn good. I liked him after that.

Jason Castro – I Don't Want To Cry (Mariah Carey Week)

I, too, was afraid as to how Jason was going to perform that week. And when I realized he was in the pimp spot AND going after the brilliance that was Always Be My Baby, I got even more nervous. But the performance was magic and beautiful and, most importantly, clever. Jason didn't try to go after the bells and whistles; he made up his own. And he succeeded. The best part was in his video package, when he said he chose the song because he liked the melody. It revealed to us for the first time that Jason does not choose songs based on what he could do with it (i.e. suit his voice, was in his range, etcetera). He chose songs because he liked them. And that explained why he was able to be so emotionally invested in all of his performances. He finally revealed that he's a musical snob. And a genius.

Jason Castro – Forever In Blue Jeans (Neil Diamond Week)

Like Paula said (before the gates of hell was unleashed), Jason showed a BEAUTIFUL lower register. And the song was perfect for him – it was quirky, and it had great guitar lines.

Brooke White – I Am I Said (Neil Diamond Week)

Her time was obviously up, but she awed us one last time with a pretty piano performance of this song. It was not in the league of Let It Be, but it did show us why we love her in the first place.

Syesha Mercado – Hello Again (Neil Diamond Week)

For the first time in so many weeks, Syesha managed to impress me with a performance. Sure, it was inconsistent in spots. But I remember being genuinely surprised with the very first line. She sang it straight, and strong, and clear, and precise. There was a hint of emotion underneath that slowly faded away as she gave in to her usual theatrics. But the initial part of her performance was admittedly lovely. That strong first impression never really left my mind for a while.

Jason Castro – I Shot The Sheriff Reprise (Rock and Roll Hall of Fame Week)

My heart was slowly breaking while he did this. And I think his was, too, when he sang about them taking him home. But it reminded me of the attitude and pluck that he displayed the night before, to Simon's genuine consternation (and Jason's genuine bafflement as to why Simon would even question his song choice). His reprise was the only sing-out I liked, due to the emotion behind it, and the bravado before it ("We're doing the Marley one, what's going on?").

Jason Castro – Hallelujah Reprise (Finale)

People thought it was a backhanded compliment to let Jason sing solo on the Finale (either they love him for it, or they just couldn't find someone else to sing a duet with him). But I am thankful for small joys such as this. He reprised his best performance ever to an even LARGER crowd, reminding everyone why he got this far. And I'd like to think of it as the show reaffirming my choice of Hallelujah as the single best performance of any contestant this season.

I noticed that my favorite performances were mostly based on my favorite songs by certain artists. It seems that I really took song choice seriously when I decided if I liked a performance or not.

Anyway, I didn't like to rank my favorites, since there were so many that I could easily get bogged down with the details, and since some really don't compare with each other. But I can easily choose my top four based on the criteria of vocal, emotional intensity, and stage presence. Ranked from absolute best to fourth: Jason Castro's Hallelujah (Semifinals 80s Week), Michael Johns' It's All Wrong But It's All Right, David Cook's Always Be My Baby, and Brooke White's Let It Be. (Yep, there’s my ideal Final Four right there.)

LEAST FAVORITE PERFORMANCES OF AMERICAN IDOL SEASON 7

Because they are human, I will desist from further criticism. But this is a list that I have thought about, and I really tried very hard not to skew the list, but it really can’t be helped. Some of the performances were rather good vocally, and that the real issue lay with something else entirely (e.g., the intention, or what happened immediately following the performance). At any rate, I’m not expecting many to agree with my choices here. These are my opinions, and mine only:

David Archuleta – We Can Work It Out (Lennon-McCartney Week)

Kristy Lee Cook – 8 Days A Week (Lennon-McCartney Week)

Kristy Lee Cook – God Bless the USA (IGB Week)

All of Andrew Lloyd Webber Week

David Cook – Baba O' Reilly (Rock and Roll Hall of Fame Week)

Syesha Mercado – A Change Is Gonna Come (Rock and Roll Hall of Fame Week)

David Archuleta – With You (Top 3 Week)

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Castro Bump!

I initially thought of writing a "closure" piece of sorts for Jason Castro, the one AI contestant I rooted for the whole season. But it wouldn't be fair. Not when he's just starting to rocket into the stratosphere of the music industry. So I'll just call this a "thank you" piece to Jason - singer, songwriter, guitar player, fellow music fan. Maybe, after more than two weeks since the AI Finale, I will "bump" up Jason and remind everybody of his accomplishments, and what a fantastic person he is. Here's my own version of the "Castro Bump".

It has been two weeks since David Cook was crowned American Idol of Season 7, but I find it hard to let go of some fantastic performances during the many weeks the show was on air. And even harder to let go of a certain phenomenal performer who captured my attention and held it for far longer than any AI contestant ever had. Jason Castro, with his trademark hairstyle and vocals, was the show's singular breakthrough performer. Forget about David Cook's "originality", or David Archuleta's "talent beyond his 17 years". Forget the fact that Carly Smithson and Michael Johns were the frontrunners leading up to the semifinal weeks due to relentless camera time. To me, Jason Castro was the true discovery of Season Seven after all was said and done.

Jason, whom I have NEVER heard about prior to the first semifinals week, became my instant favorite the moment I heard him sing "Daydream". Sure, he had a smidgen of airtime during the "Chair" round (where Ryan called his reaction to moving on to the semis as "understated", and his dork dance reminded everyone of Bob Marley on high) and there was that one fleeting shot of him rehearsing with his guitar backstage during Hollywood Week. But here was a guy who never had any screen time whatsoever, and yet he succeeded in drawing people to him. His voice was raw yet beautiful, his camera presence solid. For a guy without a lot of stage experience, he certainly knew how to work the camera. He was the first contestant to accompany himself on a musical instrument, which allowed him to stand out even more. And needless to say, his appearance was definitely an eye-catcher – dreads, jeans, rolled up sleeves, and eyelashes all. "Daydream" seemed like the perfect song choice for him. In a musical generation that bordered on the raw and the punk, he managed to find a song that could capture his essence in 90 seconds – that of unabashed optimism and sentimental quirk.

And his stock peaked when he sang "Hallelujah" the week before he was voted into the Top Twelve. To me, anyone who sings Jeff Buckley automatically gets my heart. And his version, in my opinion, was the one on which ALL the other versions that followed are based. I don't think anybody can top the original, or even try to. Jason went after Buckley's version but made it his own and was simply WONDERFUL. It was the first performance of his where he wore his heart on his sleeve, and it showed. Botched ending be damned – the power in the performance was all in the emotion that he displayed. Jeff Buckley, the man who always sang like his heart was on fire, would have been proud of Jason that night.

That performance was also the first in a series of "Castro Bumps", where he would help bump up sales of the original on the iTunes charts. Jason Castro proved that he was radio-ready AND relevant. And his raw emotion that night also proved that there was more to the quirky essence that "Daydream" provided. He could carry stronger themes, and he had the maturity to understand them (something David Archuleta and Syesha Mercado sorely lacked).

Over the following weeks, I found myself rooting for him and following his performances closely. And time and time again, he was consistent. Too consistent to some, in fact, that some thought he was merely coasting. But the fact could also be said of many other Idol contestants in the past. Bo Bice and his rock song choices, Ruben Studdard and his R&B vocals, and Blake Lewis and his constant need to be hip, to name a few. And even some season seven contestants were guilty of not moving beyond the box as well – David Archuleta and his ballads, David Cook and his emo covers, and Carly and her constant need to shout something to the high heavens. The thing with Jason is that his consistency stands out in its restraint. He did not have the loud rock grit that Cook possessed, or the vocal runs of Archuleta, or the white soul sound of Michael Johns. He was not a belter like Syesha or Carly or Ramiele. But he had his own special niche that demanded a different kind of musical skill, a different sort of gravitas. And what was most impressive about it is that, in spite of his musical restraint? He could still draw listeners to him. Say what you will about his inadequacies, but Jason needs no more than what he already has to command a crowd. Did you see how, while singing "Somewhere Over the Rainbow", he enraptured the Swaybots so much that they forgot to throw their hands in the air? Jason is commanding in his quiet presence, and he doesn't need to belt or flail about onstage in order to captivate an audience.

In a way, he is much closer to fellow contestant Brooke White in terms of skill and musical inadequacies. They both have a limited vocal range, a vulnerability whenever they were onstage without an instrument, and a tendency to eschew the bells and whistles of a song. Instead, they let their vocals do the talking, and their emotions do the convincing. Both are throwbacks in a sense. They reminded us of that era in music when the vocal was just the medium, that it was the lyrics themselves that wielded the power, that music had the ability to transport, and sincerity was the platform on which the artist stood. A time when it was just the artist and his music and his listener, and that musicianship was not a production but a creative journey. The folkies embodied it the most, which is why these two were lumped into that category. And people are now saying that Jason and Brooke have forged a commercial path for all the young folkies and troubadours out there. But the truth was that Jason and Brooke can encompass any genre of music and still sound like themselves, and not just as folk artists.

Take Jason's performances of "Fragile" and "September Morn". He did not deviate from the originals so much, and yet it sounded very different from Sting's and Neil Diamond's. "I Don't Want To Cry" was another – an R&B song that Jason twisted into an almost-stripped down reggae-pop sound. And can anyone forget "Memory"? Neither can I. And it's a good thing. It was stripped of its raw anguish, and replaced with muted desperation. And usually, it's that quiet air of hopelessness which makes it more deeply troubling, and Jason, hampered by his own private illness, did the song even more justice than Andrew Lloyd Webber could achieve. And truly, none of these examples sounded like a folk song. And while the vocals had much to do with it, I would also like to say that attitude and sincerity plays a large role with it as well, which certainly encompass musical genres. As Paula Abdul said again and again, Jason was that contestant whom you could easily distinguish vocally. Given any type of music, you get Jason every time. (And for Brooke, I've listened to her "Songs from the Attic", and I must say, I am genuinely surprised and pleased.)

This consistency and lack of tricks are why his performances have been criticized as lackluster and uninspiring. But can you fault a performer who has been wonderfully consistent every time? Or would you rather get a Courtney Love or a Damon Gough, interesting artists though they may be, but have been woefully unreliable performers at most? Give me Jason any day, and it will never feel like a waste of time. They said Jason is unexciting to watch, as opposed to, say, Carly and the strained vocals, or David Cook prancing about the stage with a guitar, or Michael Johns gyrating with the microphone. But Jason is exciting in a different way. His song choices alone – being the only contestant who has sung Leonard Cohen, Sting, Bob Marley, and Bob Dylan (Rock and Roll Hall of Famers ALL!) in one season – has impressed the heck out of me, and keeps me tuning in to find out what he is going to sing next. The fact that he is radio-ready and musically relevant makes him exciting. His offstage persona makes him even more doubly exciting, and triply adorable. The mere fact that he gives his all in every performance, no matter what people think, means that he has the passion for the business and has the potential to come up with something intriguing. Who can call that blasé? Many artists have tried to veer off from their original sound, in the hopes of becoming more "exciting", but most of the time, in the end, they go back to the old sound. In time, I suppose Jason will do that, too. He is too much of a multi-faceted performer to stick to one musical direction. Plus, he is still evolving and still discovering who he is musically. In time, he will surprise us, and he will keep us on our toes. But in the meantime, he is cherishing the sound he has now and he will only get better before he moves on to something bigger.

As much as I appreciate American Idol for giving Jason the musical opportunity of a lifetime, and for giving us music fans an artist to feel excited about, I am also disappointed at how the show treated him, and the other contestants as well. He was burned out, and admitted that his inexperience caused him to falter. The judges were also unforgiving (Paulagate, anyone?), and seemed to trample on his spirits. Many people thought he wanted to leave, when all he really wanted was to just make music. Really, all he ever wanted was to make music, and the show disappointed him in that regard. But the upside? Is that Jason now knows how much hard work is required to succeed in the business, regardless of whether or not it is even related to the music itself. Which is why Adam Levine has given the best advice thus far: "Get ready to work, baby. It's gonna be really tough, you'll have to work a lot. And then you're gonna get jaded, and then you're gonna say, 'God, I hate this'. But you really love it. So try to remember that." Jason now knows it firsthand. All he has to do is learn from it. The reassuring thing is no matter how much the show may have disappointed him, his passion for music is still alive and that he now knows that he loves it, warts and all.

Despite speculation, I don't think the show ever broke Jason. He sang what he knew and loved, which meant that he sang from the heart. And nowhere was it more evident than in the week when he was eliminated. He sang Dylan, the foremost troubadour of our time, cementing the image in our heads of Jason as a folkhouse progressive. And he sang Marley, which was the strongest sentiment he could possibly give about himself and his universe. Almost saying, "Here, this is what people think of me and I embrace it. Not because they are right, but because I am right about myself and the people have caught on." On the one night that he simply performed as himself, he was eliminated. Irony much? That aside, he went out on a high note. He went out as himself. He never followed the dictates of the AI machine, never fit the mold of the usual Idol. He was no fool, and was as anti-establishment as they come, but in the sweet gentle package that is Jason. He followed his own artistry, and emerged happy as he sang the Marley song in the end that some people hated but he loved in his gut. He refused to give in to criticism, and continued to follow his heart. If he displays that same kind of passion and bravado in his career, there will be no stopping him. (And if you ask me, I thought "I Shot The Sheriff" and "Mr. Tambourine Man" were inspired song choices and were performed brilliantly. Because – seriously! – how can you judge the vocals on these two songs? The former required a certain kind of attitude and pluck to pull off, and the latter required emotional sincerity – all of which Jason displayed that night, despite forgetting some words. So, ask me about these two performances and I will say that they were AWESOME.)

I trust that he will follow his own path and just have a grand time with his music. And seriously, I cannot WAIT to see where his music takes him. Right now, there is a slew of online non-Idol material that does his talent justice. He has drummed for a rock band, sang Christian contemporary in church, and performed reggae and folk and pop songs in clubs. And I'm sure there is so much more out there that he has done that will serve to take my breath away some more. At the moment, he is a one-man musical variety show, and now, as his hometown visit shows, he is taking a more acoustic and sentimental approach to his music. Meanwhile, on a personal level, he has already earned my deepest respect and profound admiration for being the spiritual and gentle person that he is. His interviews made me realize that he is an even better and lovelier person than what he chooses to publicize. I commend his family for keeping him grounded, and for letting him loose to find his passion. I also thank his parents for raising him to be the person that he is now. I can only hope that the universe conspires to give Jason his moment in the sun.

It might take some time before we find him at the mic again, guitar or drumsticks in hand. But it doesn't matter to me. To me, good music is good music and is timeless. I have eclectic tastes of my own, and Jason's sound fits in comfortably within my musical universe (and it is a very forgiving and appreciative one!). Follow your own music, I say. Discovering where all this takes him will only make him a better artist. And it will only mean sweet music to my ears.

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