NQC 2010, Day 3: Mainstage Highlights

Stepping into Freedom Hall for another NQC is a sensation unique in the Southern Gospel experience. At the base of the ramp that leads to a section of seats, a cool breeze strikes you in the face—remnants of the massive undertaking of providing climate control for 20,000 people. A view through the ramp shows the seats on the opposite side of Freedom Hall, also filling in preparation for the evening’s concert. And a few steps up the ramp reveals the main stage, where history is about to be made.

Highlights from Wednesday night’s NQC set included:

  • Dailey and Vincent. This group exploded onto the Bluegrass scene in 2008, with their debut album leading them to a sweep of the IBMA awards (Bluegrass’s version of the Singing News Fan Awards or Dove Awards). Awards and accolades have flowed in a steady stream since, and their strong set left no question why. Bass singer Christian Davis used a good portion of what must be a four or five octave range during a comedy routine on “Daddy Sang Bass.” Then, he promptly shifted gears to deliver a thoughtful rendition of “Thanks to Calvary,” to another strong response. The last full song (other than a customized closing number) was a stunning rendition of “When the Roll is Called Up Yonder,” changing featured vocalists and tempos at several points.
  • Gold City. Despite a timing mishap on the dramatic transposition to the final chorus, Josh Cobb’s performance of the new Gold City arrangement of his signature song, “I Stand Redeemed,” stood out as one of the evening’s best performances. A cover of a Dixie Hummingbirds song which will appear on Gold City’s upcoming mainline release was also quite strong. Unusual and worth noting: I’ve heard a number of different methods of encouraging audiences to clap, but I heard one for the first time during the Gold City set: Clap because the Bible says to. During a turnaround on “I’m Rich,” lead singer Bruce Taliaferro said, “The Bible says, ‘Clap your hands, all ye people.'”
  • The Inspirations. Lead singer David Ragan showed that his acapella solo last year on “The Son Come Down” wasn’t a moment of passing audacity. He did another acapella solo this year; if memory serves me correct, it was on “That’s Why I Call it Home.” Melton Campbell took the second verse. The song was well received.
  • Before the main mainstage program, four artists from the artist showcases each got to sing a song on the main stage. Hayley Patillo, daughter of songwriter David Patillo, sang “It is Well With My Soul”—to Greater Vision’s Lari Goss-produced track, I believe. It was a strong performance and received a standing ovation—a rare feat for a song offered before the main program even starts.

A twenty-two hour day precludes more detailed commentary at this point, but these were some of the standout moments.

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6 Letters to the Editor

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  1. May have just been me, but out of the last 6 years that I have atteneded, last night was one of the most enjoyable nights from top to bottom there were alot of great performances.

  2. I watched online and didn’t get in until the Dove Brothers. I know the sound mixing was bad on the internet feed, but when the Kingdom Heirs were the weak link of the night, you know it was a good night!

  3. Ahh, I think that Legacy Five should be on that list! I am NOT saying that because of my personal opinion of the group. I listened to every artist that came on stage last night and HONESTLY, Legacy Five could not have been more spot on. Not to offend any other fans, but I really think they had the best set of the evening. Just sayin!

    • What I heard of their set was reliably good – i.e., exactly what I expected, delivered professionaly – rather than surprisingly good, blowing me away in one way or another.

      Either way, it was good.

  4. That performance of “I Stand Redeemed” was okay, but it had me wincing in some spots. Still, no question Josh has improved with age. Nice to see that he and Scott appear to have patched things up.

    • They only rehearsed it for the first time since singing it in the studio an hour or two before doing it on main stage. Wait until they know it (and till the brass and strings are added). I predict it will bring the house down nightly once again.


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