Distinguished Concerts International New York (DCINY) presents Rock Choir: The Big Apple Tour in Review
Rock Choir
Marcus Alleyne, Richard Toomer, Carey Camel, Directors
Stern Auditorium, Carnegie Hall, New York, NY
March 22, 2025
On Saturday, March 22nd, Distinguished Concerts International New York (DCINY) presented one of their most memorable concerts ever, bringing the world’s largest contemporary choir, called Rock Choir (www.rockchoir.com), from the United Kingdom to make its Carnegie Hall debut. To be more precise, we heard under one percent of Rock Choir, because, though over 300 members had flown in from London (filling some half a dozen risers on the Perelman Stage), the entire choir has actually around 33,000 members. Yes, that is not a typo – 33,000. Though we heard “only” around 300 choristers, with three dynamic conductors, there is a Rock Choir team in the UK of around 130 individuals (including 100 professional musicians) who lead tens of thousands from 400 communities across the country. They are more than a choir – they are a movement.
From the very first notes of their opening, Sweet Child O’ Mine (Guns N’ Roses), the chorus “had me at hello” (albeit with some minimal piped-in background music, as needed in a few selections). With their clapping on offbeats, swaying, and hearty voices, their energy was contagious. What followed was a stirring program of twenty-one pop and rock hits of all moods and styles, from 60’s and 70’s (Shake a Tail Feather, 1963, and Bridge over Troubled Waters, 1970) to the present day (This Is Me, 2017, Shallow, 2018, Green Green Grass, 2022, and Mountain, 2023). All three conductors – Marcus Alleyne, Richard Toomer, and Carey Camel – were skilled and charismatic, and their tag-teaming was swift and seamless.
The audience was invited to join in if moved to do so, because, as Mr. Toomer said, it’s “that kind of concert.” Many did join in. Especially fitting was the chorus’s exultant version of the second song, led by Carey Camel, What a Feeling (Giorgia Moroder, arr. Caroline Redman Lusher) from the movie Flashdance. The choice of this song seemed especially appropriate, in view of the movie’s famous audition scene, in which the Jennifer Beals character defies expectations in a winning performance. This chorus itself defied expectations here, for several reasons.
One of the things that makes Rock Choir so special is its inclusivity. It was founded by Caroline Redman Lusher in 2005 on the belief that music has the power to unite communities and enhance the health and self-esteem of all who share in it. To this end, there are no auditions for Rock Choir. There is no musical experience necessary to join – not even the ability to read music. So, though this concert was expected to be a lovely event with a “feel good” mission, nothing about its background or the absence of prerequisites prepared one for the high standards we heard. The chorus was tremendous.
Over the course of the concert, the members sang in multiple parts, with impressive descants and some tricky suspensions and modulations, and they were nearly always beautifully in tune. Perhaps it is a case of the whole being greater than the sum of the parts, but if there was a weak voice or an unsure pitch, it was swept up in the power of music that expresses the full range of human emotions – grief, joy, and everything in between. Though mention was made of the benefits of being a member of Rock Choir, those benefits could be felt by their listeners as well, as one could sense audience members gradually shedding their inhibitions. Rock Choir’s joy, simply in being human, is contagious. Mr. Toomer mentioned perhaps starting such a group in New York, and he may have been joking, but yes, please.
Mr. Camel followed Flashdance with Video Killed the Radio Star of The Buggles (arr. Alex Hawker), and then I Wanna Be the Only One (Bebe Winans/ James Lawrence, arr. Josie Black), before Mr. Toomer returned to add his special touch to three songs, the Caribbean-inspired Green Green Grass (George Ezra, arr. Katherine Tye), the Whitney Houston favorite, I Wanna Dance with Somebody (George Merrill/ Shannon Rubicam, arr. Charlotte Nash), and Only You (Vince Clarke, arr. Caroline Redman Lusher). For the last one, Mr. Camel joined as piano support.
Mr. Alleyne brought the next three to life, starting with A Thousand Years (Christina Perre, arr. Josie Black), and it was enhanced by having Mr. Camel at the piano again and Mr. Toomer now adding violin (as he did elsewhere). There seemed nothing these three gentlemen could not handle together. In fact, one couldn’t help thinking that possibly with the addition of some portable percussion or a synthesizer, they could pull off an entire concert using nothing pre-recorded. It would be a great endorsement of purely live music, which needs every champion it can get right now. Mr. Alleyne then led the chorus in what was a concert highlight for this listener, Bridge Over Troubled Waters (Paul Simon, arr. Alex Hawker). Its gentle beauty was a welcome solace, and Mr. Camel handled the piano part well.
On a side note, there were a few diction surprises through the evening, and the latter song included one. Though American choruses often try to adopt British pronunciation (or as many say, the “correct” pronunciation), that choice can be startling in certain American selections, such as Bridge Over Troubled Water. As it had been made famous in the version sung by its New York composer, the British pronunciation of “water” really jumped out. No criticism is meant – it was just charming – but the chorus did capture a more regional American flavor in some other songs, such as For Once In My Life, which Stevie Wonder popularized (Ron Miller/Orlando Murden, arr. Caroline Redman Lusher), and Shake a Tail Feather, sung famously by the Blues Brothers (Oath Hayes/Verlie Rice/Andre Williams, arr. Alex Hawker).
A special highlight of the program was This Is Me from The Greatest Showman (Benji Pasek /Justin Paul, arr. Caroline Redman Lusher), also conducted by Mr. Alleyne. Once again, the choice was particularly appropriate for a chorus that embraces singers of all levels, ages, and backgrounds. Every member seemed to belt out the recurring line, “This is me” as if it were written expressly for them.
Other songs included She Will Be Loved (Maroon 5, arr. Katharine Tye), conducted expertly by Mr. Toomer and I Don’t Want To Miss a Thing (Diane Warren – popularized by Aerosmith), handled sensitively by Mr. Alleyne. Mr. Camel then led an appealing performance of the UK hit Somewhere Only We Know (Keane, arr. Sam Smith and Josie Black) in the Lily Allen version.
Mr. Toomer, along with keeping delightful and educational commentary going between songs, led several more favorites, including Like a Prayer (Madonna/ Patrick Leonard) and Jolene (Dolly Parton). Though there was a group of four songs left to be conducted by Mr. Alleyne to conclude the concert, Mr. Toomer threw the choice out to the audience as to whether the fourth would be played as an encore, depending on audience response. Naturally it was. No one was in a hurry to leave, it seemed, and one side of the audience had a group of people dancing. We heard excellent renditions of Shallow from A Star is Born (Lady Gaga / Mark Ronson, arr. Charlotte Nash), the ever-popular Hallelujah (Leonard Cohen, arr. Caroline Redman Lusher), and a particularly self-affirming version of Mountain (Sam Ryder, arr. Sam Smith), in which the line “I am a mountain” refers to the overcoming of obstacles in life. There were probably very few in the chorus for whom these lyrics did not resonate – for a start, managing the thousands of miles to come here and sing – but they certainly “hit home” for this listener as well.
With loud cheers and stomping, the audience demanded the encore of Queen’s Don’t Stop Me Now (Freddy Mercury, arr. Caroline Redman Lusher), and it brought the house down. Thank you, Rock Choir, and please come back soon!
