The popular slang database urbandictionary.com aptly defines “guilty pleasure” as “something that you shouldn’t like, but like anyway,” which is elegant in its simplicity. It is also suitable to describe my relationship with the popular singing competition show American Idol, which is currently a few weeks into its eleventh season. I have experimented with a few other similar shows, including NBC’s America’s Got Talent and the relatively new Sing-Off, which limits itself to a cappella performances, but was unimpressed. I never really thought I would find another singing show, but then NBC hit me one more time, premiering The Voice back in April of 2011 (not accidentally riding the coattails of the Idol finale).
Those acquainted with the show can skip this paragraph, but for the uninitiated, The Voice is a singing competition that distinguishes itself from more traditional programs like Idol or Talent in two important ways. The first is its use of blind auditions, in which the judges hear auditions with their backs turned, and must commit to voting for a particular singer before they are permitted to turn their chairs around and see them. The second distinction lies in the talent base, which for other shows is drawn from massive open auditions, but for The Voice is actually recruited from individuals who already have successful small-time, low-exposure music careers (singing teachers, wedding singers, etc). This makes for a higher-caliber competition from day one, which is a positive for everyone who thinks the painfully awful auditions in the early phases of American Idol are precisely that - painful.
The Voice has its own formula of progression from audition to finale, which is fairly analogous to similar competitions except for its use of a “coaching” system. When a contestant auditions, judges (consisting of Adam Levine, of Maroon 5, Cee-Lo Green, Christina Aguilera, and That Country Guy a.k.a. Blake Shelton) commit to selecting that contestant for their “team” by pressing the button on their chairs that turns them around to face the would-be superstar. If more than one judge turns, the contestant chooses which judge she or he will align themselves with. The coaches then take their teams through a series of various solo and group challenges, mentoring the singers they chose (or who chose them) in friendly competition with the other judges.
The show features innovative sing-off mini-competitions, such as the mid-season “battle rounds” that put duos from each team in a literal boxing ring, taking turns attempting to out-sing each other while progressing through a common song. Later in the season, The Voice falls into a more predictable pattern of nationwide voting with audiences selecting one contestant and judges making the decision, on live television, which team members will not move on to the final rounds.
The show’s judges also take the stage periodically, including alongside their star pupils in the finale episodes. This adds credibility to their judgments, allowing contestants and viewers to witness their expertise firsthand rather than relying upon reputation. Host Carson Daly may not have the charisma of Ryan Seacrest or even Nick Cannon, but he is the consummate MC, arbitrating between contestants and judges without making a spectacle of himself. The show’s strong staple cast of active artists and icons ensures that it is culturally and musically fresh and hip; a particular performance that comes to mind is last season runner-up Dia Frampton’s soulful rendition of Kanye West’s “Heartless.“
Those acquainted with the show can skip this paragraph, but for the uninitiated, The Voice is a singing competition that distinguishes itself from more traditional programs like Idol or Talent in two important ways. The first is its use of blind auditions, in which the judges hear auditions with their backs turned, and must commit to voting for a particular singer before they are permitted to turn their chairs around and see them. The second distinction lies in the talent base, which for other shows is drawn from massive open auditions, but for The Voice is actually recruited from individuals who already have successful small-time, low-exposure music careers (singing teachers, wedding singers, etc). This makes for a higher-caliber competition from day one, which is a positive for everyone who thinks the painfully awful auditions in the early phases of American Idol are precisely that - painful.
The Voice has its own formula of progression from audition to finale, which is fairly analogous to similar competitions except for its use of a “coaching” system. When a contestant auditions, judges (consisting of Adam Levine, of Maroon 5, Cee-Lo Green, Christina Aguilera, and That Country Guy a.k.a. Blake Shelton) commit to selecting that contestant for their “team” by pressing the button on their chairs that turns them around to face the would-be superstar. If more than one judge turns, the contestant chooses which judge she or he will align themselves with. The coaches then take their teams through a series of various solo and group challenges, mentoring the singers they chose (or who chose them) in friendly competition with the other judges.
The show features innovative sing-off mini-competitions, such as the mid-season “battle rounds” that put duos from each team in a literal boxing ring, taking turns attempting to out-sing each other while progressing through a common song. Later in the season, The Voice falls into a more predictable pattern of nationwide voting with audiences selecting one contestant and judges making the decision, on live television, which team members will not move on to the final rounds.
The show’s judges also take the stage periodically, including alongside their star pupils in the finale episodes. This adds credibility to their judgments, allowing contestants and viewers to witness their expertise firsthand rather than relying upon reputation. Host Carson Daly may not have the charisma of Ryan Seacrest or even Nick Cannon, but he is the consummate MC, arbitrating between contestants and judges without making a spectacle of himself. The show’s strong staple cast of active artists and icons ensures that it is culturally and musically fresh and hip; a particular performance that comes to mind is last season runner-up Dia Frampton’s soulful rendition of Kanye West’s “Heartless.“
Insofar as it is possible for an intelligent person to really “like” a singing competition reality show (except on Facebook), I do like The Voice. It has some refreshing changes that, given the opportunity to run for a few seasons, have excellent potential to bring something new and fresh to the genre of singing competitions that so many shows have failed to in the wake of American Idol. If you’re new to the genre or just tired of Steven Tyler’s unfinished limericks, give The Voice a listen, followed by a look if you’re ready to commit.
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