Ladies and gentlemen, welcome to Huskie Stadium on the campus of Northern Illinois University in Dekalb, Illinois, site of tonight’s Tour of Champions - Northern Illinois Drum Corps International Competition! My name is Kevin Gamin, Managing News Editor of Drum Corps Planet, and I will be providing you tonight’s live blog of this show.

Tonight’s TOC event is one of THREE live streams provided to drum corps fans by FloMarching. Whether you stay on this event or are planning on hopping between streams to catch your favorite corps, we are glad you chose to join us tonight!

The show starts at 8 PM Eastern/7 PM Central with the Madison Scouts leading off. See you then!

Phantom Regiment has provided a digital program for tonight’s show. You can access the program at https://regiment.org/show/.

Members of the Northern Illinois University Huskie Marching Band performed tonight’s National Anthem.

First on the field tonight is the Madison Scouts from Madison, Wisconsin. Here is their 2019 program information:

• Show Title: Majestic
• Music Repertoire:
  • "Afterburners" by Chuck Naffier/Mark Taylor
  • "Backlash" by Simon Dobson
  • "715-Creeks" by Bon Iver
  • "Young Person's Guide to the [Jazz] Orchestra" by Duncan Lamont
  • "Spinning Wheel" by Blood, Sweat, & Tears
  • "One Voice" by Barry Manilow
• Description: "Inspired by the historic Majestic Theater in Madison, Wisconsin, the 2019 Madison Scouts pay homage to timeless entertainment with “Majestic”. Throughout its history, the Majestic Theater has entertained audiences with its variety of shows from vaudeville to big band jazz to today’s modern rock bands. In “Majestic”, the Madison Scouts combine a varied soundscape that spans decades, genres, and instrumentation. Uncomplicated, these musical staples are designed to simply entertain, musically and visually."

I have to say, seeing Madison come on the field in a full company front is a welcome sight. Could we get lucky and get a breakout into the corps logo, the fleur-de-lis, before the end of the season?

Opening formation is a “blob” right on the 50 with the percussion on the back perimeter surrounding the brass.

Scouts waste no time with a full brass and percussion intro, complete with a quartet of screamers on the front sideline.

Tuba line lays down a wicked bass line to open the first full movement of the show. Mellophones on melody.

Closeup on the guard and I see what looks like yellow scarves around their neck, likely another shout out to their history and origins as a Boy Scout troop.

Percussion feature, right on the 50 and up front. Considering the field percussion judges can no longer roam the field as they used to, will we see features staged like this on a more regular basis to ensure they get full credit for their work?

Nice rifle toss and catch to finish the opener, guard!

After a brief front ensemble interlude to start the second movement, the horns are now playing towards the side one end zone, then backfield for that wonderful reflected sound off the empty back stands. A turn front and an in your face hit by the brass.

Flags are on lovely blue silks with bubble graphics on them.

A second percussion feature opens the next movement of the show. Marching percussion has ditched their headgear.

Brass comes in on Young Person’s Guide to the Orchestra with a high stepping wedge formation.

Young Person’s Guide now goes for a Madison swing interpretation. Front ensemble throws down some intense licks before the horns come back in and jam.

Guard flags are now a yellow to orange fade with blends great with their uniforms.

Brass really getting a visual workout during the closing moments of Young Person’s Guide before ending in the fleur-de-lis. Announcer mistakenly thinks the show is over while a baritone soloist intros the next song.

Nice rotating drill formation backfield by the brass as they build to what is essentially a re-entry.

And now a full company front pushing diagonally across the field.

Some kaleidoscopic drill leads us into the final formation and the final statement of the show.

Overall, while there are modern touches to the show, this is very much a throwback to the history of the corps. No props, no uniform changes, and the theme is less important than the music and visual themselves.

Next on the field is the Colts from Dubuque, Iowa. Here is their 2019 program information:

• Show Title: When Hell Freezes Over
• Music Repertoire:
  • Music by AC/DC
  • Music by Robert W. Smith
  • Music by Camille Saint-Saens
  • Music by Frederic Chopin
  • Music by Bob Dylan
• Description: "Featuring the music of AC/DC, Robert W. Smith, Camille Saint-Saens, Frederic Chopin, and Bob Dylan, the Colts explore the depths and dualities of a place one hopes to never know. In the struggle, there is light. Beyond the inferno, there is ice. Yet no soul is so forsaken that it cannot find its way to heaven's door. The Colts are proud to present their 2019 program... When Hell Freezes Over."

Lone guard soloist steps out as ominous sounds emanate from the front ensemble.

For whom the bell tolls? It tolls for the Colts.

Tubas marching around one of the props laying down the bass line. Rest of the corps comes out playing backfield.

Guard members on top of the props, shrouded by large black tarps, as if they’re demons reaching up from Hell to pull us all down with them.

Nice evil chord by the brass before resolving into a...less minor one. Still evil.

Baritones and mellophones on the melody for Danse Macabre to start the next movement.

Percussion feature. Tenors and basses rush up front and each get their chance to shine before the snares join in. Once again, the feature is right up font on the 50, giving the percussion judge ample ability to take it all in.

Great energy from the Colts throughout the opener. It’s another fun yet sophisticated show from them, which is a style the Colts have utilized with great success throughout their history.

Castanets in the front ensemble and a five member trombone choir up front both providing great musical effect on top of the corps.

On one of the props on the 50 in the backfield, a guard and horn dance duet personifies the music.

A trumpet trio now plays an echoing call to start the third movement of the show.

Snares come across the field to start the second percussion feature of the show, joined by the trumpets, now numbering 8, two groups of 3 on either side of the front ensemble and a duet in the middle on the 50.

As this all happens musically, the scrims on the front side and the props all change from fire to ice, the props doing so as a large ice blue tarp is pulled over them. The sound of water freezing and crunching adds to the effect. Finally, the guard has changed from their fiery costumes of red and orange to various shades of icy white and blue. It’s a very eye catching change and very effective.

Tubas are working hard laying down their bass line while moving high speed on the field during the fourth movement. Horns now rush into the center of the field, surrounded by the props, before doing close quarter drill.

An organ in the pit opens the final movement, Knockin’ On Heaven’s Door. A baritone/mellophone duet plays the melody.

Horns turn front and jam out on the chorus, all set up on or around the props for staging.

Big ending to the show with the horns in company front on the front of the field, wailing a final chord.

Next on the field is the Academy from Tempe, Arizona. Here is their 2019 program information:

• Show Title: "The Bridge Between"
• Music Repertoire:
  • "Dance No. 1, First Movement" by Oliver Davis
  • "Equilibrium" by Paul Lovatt Cooper
  • "Bridge Over Troubled Water" by Paul Simon
  • "Horizons" by Paul Lovatt Cooper
  • Original music by Steven Vento

PIt opening with a guard member center field to start. Joined by more members as the percussion forms up on side two midfield and plays a feature.

Watching the horns players burst from their center field staging and bridge props to jazz run across side two is very dynamic.

Nice shot up close of the horns with the moon in the corner of the shot.

HUGE trombone section back field and they sound excellent.

And now a similar shot of the sabers during one of their tosses. Whoever is doing photo duty tonight has some great framing at their disposal.

After a jarring quote of London Bridge, the mood changes. The focus turns back field to a miced flugelhorn soloist on the opening strains of Bridge Over Troubled Water. Water effects emanate from the front ensemble as well.

This soloist has been nails every time I’ve heard him. Very expressive and a wonderful tone on a very difficult instrument.

Baritone section now on the melody, set up behind the front ensemble on side one.

Excellent descending bass line, tubas!

Horns all now on the front of the field in a large block triangle formation belting out the chorus.

Double tonguing exercise in the brass opens the next movement, with a trombone quartet set up in the front ensemble for added effect.Tubas play a variation on the London Bridge theme right in the center of the field. Trumpets get their chance to do the same, then baritones. Each brass feature has a percussion section feature in between.

A restatement of the Bridge Over Troubled Water theme leads into the final segment of the show.

Next on the field is the Mandarins from Sacramento, California. Here is their 2019 program information:

• Show Title: subTerra
• Music Repertoire:
  • "On the Shoulders of Giants" by Peter Graham
  • "Run Boy Run" by Ambroise Willauma and Yoann Lemoine
  • Original Composition by Key Poulan and Ike Jackson
• Description: "The production begins with the tribal leader on top of a wagon and a red pole center stage used as a “spiritual ceremonial gathering” celebration of our new arrival. In accompaniment of hand drumming, a tribal ritual dance commences in the center of the field signifying our arrival into our new city. An outsider, or intruder, interrupts our celebratory ritual. No longer safe and no longer hidden to civilization, our tribe must take action and do anything to survive."

Mandarins have gone hard core dark. It is a mood and I am for it.

VERY percussive opening to the show, with tribal rhythms coming from the pit as well as from the marching percussionists on hand drums.

Question for Mandarins’ arranger Key Poulan: Is this in Phrygian Mode?

Rifles working during the transition before the horns show their stuff in On The Shoulders Of Giants. Both Mandarins and Boston are performing this piece, which is straight up British brass band madness.

Speaking of which, trumpets have a feature which is full of 16th note runs.

Excellent musical moment while the horns march in half time, letting the moment speak for itself.

AND MY CAT STEPS ON THE REMOTE!

I ain’t even mad. He’s cute. And small.

This section of the show is somber, and maybe even a little Phillip Glass in nature.

Horns playing to the side one back corner of the field as they build it the impact of this movement, where they form a literal wall of sound.

There’s nothing like a trust fall in the guard to add GE.

Percussion come up front and start Run Boy Run. This is a very different interpretation from Cavies a few years ago. Now it sounds like something BAD will happen if that boy doesn’t run.

Meanwhile, there’s guard members climbing the tower props. No thank you,. I’m not afraid of heights, I’m just allergic to falling on my head.

I do love that tuba features have become standard. What’s more, the tubas get split parts that allow them to just kill us with harmony.

Speaking of GE,, the Mandarins now kill the main character at the end of the show. It will take at least two more kills before they can compete for a championship.

We are now on intermission. Our next corps, the Blue Stars, will go on at 9:46 PM Eastern/8:46 PM Central.

Next on the field is the Blue Stars from Lacrosse, Wisconsin. Here is their 2019 program information:

• Show Title: Call of the Wild
• Music Repertoire:
  • "Concerto No. 4 in F Minor, Op. 8, RV 297, 'Winter'" by Antonio Vivaldi
  • "Symphony No. 1" by Pyotr Ilyich Tchaikovsky
  • "Dance Panels" by Aaron Copland
  • "Sora" by Yoko Kanno
  • "Avalanche" by Jim Wunderlich, Rick Barclay, Matthew Hernandez
  • "The Great Thaw (Reprise)" by Frode Fjellheim, Christophe Beck

Hmmm...I don’t remember this pre-show. Is it new? I believe it’s a direct quotation from Jack London’s Call Of The Wild, isn’t it?

The narration finishes and the soloists who open the show begin, so this may now be pre-show.

Blue Stars is not afraid to have their members book all over the field. Multiple moments of high speed visual action throughout this show.

OK, not pre-show. They’re doing what Bluecoats do and dispensing with the announcement of the corps.

Drum feature. Front and center.

I don’t know if Blue Stars upped the tempo on Dance Panels, but I feel that this section has been George Lucas-ed - Faster and more intense.

Also, Blue Stars brass in general are really ripping face tonight and not holding back!

Sora, the ballad, comes across as very ethereal. It is performed first by a soloist on the mountain prop on side two of the field. There’s also a moment in the ballad which sounds like a quote from Faure.

Baritone soloist on side one.

Guard has incredible silks that are almost midnight blue in color, but I can’t make out the pattern because they’re in constant motion.

I just noticed the guard are all wearing red and black plaid earmuffs. Very cute.

There’s the brief Let It Go quote as the corps transitions into The Great Thaw.

Next percussion feature. Snares staged in front of the front sideline. Rest of the drums join them.

Lovely unison baritone melodic moment at the start of the closer.

Of course, you can’t do a show about the Great White North without at least one snowflake style formation, right?

And, to top it off, the corps forms a mountain range to close the show.

Next on the field is the Cavaliers from Rosemont, Illinois. Here is their 2019 program information:

• Show Title: The Wrong Side Of The Tracks
• Music Repertoire:
  • "Gorgon" by Christopher Rouse
  • "Bum's Rush" by Donald Grantham
  • "Rock Island, 1931" by Thomas Newman
  • "Party in Steerage" by Mike McIntosh & Cliff Walker
  • "Cathedral" by Thomas Newman

“This is the life we chose. The life we lead.”

And then the corps punches us in the face with Gorgon.

After the intro, a quick percussion feature leads us into the first movement, which features trombones on top of the train trestle prop on the left side of the field. Horns join them on the lower level and in front.

The train has come to a stop to start the second movement.

Brass soloists set up way backfield and on mics give us our music along with the pit. Very tasty stuff from the front ensemble.

Cavies were the first corps to really make use of that backfield effect, reflecting their brass sound off those back stands. While this is now a common audio effect in the activity, nobody does it better.

Corps now goes into 7/8. Love the shimmering silks in the flags providing the visual effect!

Brass and percussion sections trading off musical moments now. 

Front ensemble has turned their keyboards perpendicular to the front and the players are jumping from one instrument to the other while running round and playing. It’s like 2014 on steroids!

What a gorgeous baritone solo during the ballad section of the show!

Horns playing full out. Mellos and trumpets on unison parts with the trumpets up an octave adding to the effect. That’s one of the top musical moments of the season right there.

Two of the quotes used in the show are from The Road To Perdition. I am curious how much of that story influenced this show.

Next on the field is the Bluecoats from Canton, Ohio. Here is their 2019 program information:

• Show Title: The Bluecoats
• Music Repertoire:
  • "A Day In The Life" by The Beatles
  • "I Want to Hold Your Hand" by The Beatles
  • "Eleanor Rigby" by The Beatles
  • "Within You Without You" by The Beatles
  • "Blackbird" by The Beatles
  • "Come Together" by The Beatles
  • "I Want You (She's So Heavy)" by The Bealtes
  • "The End"
• Description: "From the cacophony of the 1960s rose the one band to rule them all - The Beatles. The famous foursome not only shaped music history, but also informed the rapidly changing cultural landscape around them as the band evolved from their teeny-bopper roots to the revolutionary social awareness, psychedelia, and musical experimentation of their later work. Throughout their meteoric rise - from working-class Liverpool and honing their craft in Hamburg, to Beatlemania, the Ed Sullivan show, and rocking Shea Stadium - The Beatles contributed not just soul-stirring medleys and unforgettable lyrics to the world of music, but hairstyles, fashion, and cultural consciousness across the universe. It is in that spirit of collaboration and innovation that we present our 2019 program, 'The BLUECOATS.' From 'I Want to Hold Your Hand' to Abbey Road, we use 21st-century technology, unavailable when the music was created, to harness the breadth and depth of the Beatles’ catalog and explore our own evolution - on stage and live in concert."

“Number 9” is referenced during the pre-show, one of NINETEEN Beatles compositions used in part or in whole throughout the show.

Of course, the opening features “Strawberry Fields”, “A Day In The Life”, and “Penny Lane”, and that’s just the references I caught.

During the drum break, there’s a sample of the opening of “Lucy In The Sky With Diamonds”.

That HUGE sound from the brass on the chord following the drum break is mind blowing.

“Yesterday” quoted by the brass during “I Want To Hold Your Hand”.

This arrangement of “Eleanor Rigby” is perfection.

The trumpets utilizing a great Bluecoats brass effect with various overlaying lines played across the field, lining up despite the distance between the groups playing them. Very strong timing awareness by the performers.

During the transition out of “Eleanor Rigby”, another Bluecoats staple - Using a sample of the brass line for an effect.

And yet another Bluecoats effect - Modulating the sound of a soloist (think 2010 Bluecoats during their closer).

Really, this is a much a love letter to the Bluecoats themselves as it is to the Beatles, right down to the blue and orange color scheme, a shout out, perhaps, to 2014’s Tilt.

Drum line is featured as heavily during this segment of the show as the brass line. Both sections are incredibly strong this season.

Yet another amazing flugelhorn soloist tonight, this time during “Blackbird”.

The horns only section of “Blackbird” has similar vibes to when Bluecoats performed “The Boxer” back in ‘08.

“Dear Prudence” sampled over the closing “Blackbird” solo.

The tubas sound absolutely EVIL on the multiphonic bass line leading into “Come Together”. And they’ve even added to it!

And now we get full out down and dirty with “She’s So Heavy”. That brings the crowd to their feet.

Still the “June ending” for the corps. That will be changing soon, I’m sure.

Our final corps of the evening is Phantom Regiment from Rockford, Illinois. Here is their 2019 program information:

• Show Title: I Am Joan
• Music Repertoire:
  • "Carmina Burana" by Carl Orff
  • "Audivi Media Nocte" by Oliver Waespi
  • "Zohar" by Jonathan Leshnoff
  • "Fire of Eternal Glory" by Dmitri Shostakovich
  • "Lady McBeth of Mtsensk" by Dmitri Shostakovich
  • "Vox Populi" by 30 Seconds to Mars
  • "Unleashed" by Two Steps from Hell
• Description: "In a time when the world needed someone to stand up, hers was the voice that ignited change. The 2019 Phantom Regiment celebrates bold, empowered women and the spirit of revolution through the lens of Joan of Arc, one of the world’s most prolific independent women. Sometimes when you are willing to stand alone, the whole world will listen."

Phantom’s show has some interesting “old school” elements to their show. For example, the rifles start off in the same uniform as the brass and percussion.

Ahh, there is now a recorded introduction of the corps by Dan Potter instead of the full corps yelling “I AM JOAN!”, though the corps still does the same horn movements.

Great visual build to the stylized cross formation at the end of the intro!

Another old school element - High mark time in the upper brass. Of course, they’re doing that while double tonguing, so even more effective as a result.

One side effect of having the rifle line in the corps uniform - It is VERY black on the field. That’s actually a cool effect, especially once the corps starts changing into their Joan outfits.

Fire Of Eternal Glory performed by a small brass ensemble up front on side one.

I just saw in the closeup on the guard that they have their sabers sheathed in what I originally thought were quivers.

The Eternal Glory ensemble fades away as the drums of war arrive.

Percussion is VERY strong for Phantom this season, and it is very apparent during the percussion features in this movement of the show.

After a chaotic buildup, we transition back to Fire Of Eternal Glory.

All of the percussion and the low brass have changed into the Joan costumes. Upper brass is still in the black corps uniform. This allows for a very powerful final formation of a shield in black and a cross inside of many colors.

Vox Populi starts the closer. As the corps yells the lyrics, this gives the upper brass a chance to change into their Joan costumes. The guard has also changed into costumes evoking flames as the spirit of Joan has come through the flames and continued to inspired us throughout history.

A reprise of Carmina Burana and the horns form the corps chevron logo midfield. Smoke billows from the pyre props backfield.

Scores:

8. 73.00 - Madison Scouts
7. 74.65 - Academy
6. 75.50 - Colts
5. 78.85 - Phantom Regiment
4. 79.45 - Mandarins
3. 81.15 - Blue Stars
2. 83.55 - Cavaliers
1. 87.50 - Bluecoats