Hearing songs such as Pinball Wizard, Royals, and REM’s “Losing my Religion”, was something I was so excited to hear in person.

The huge presence he brought physically was minor compared to the mammoth size presence of Puddles’ voice. Not only putting in the occasional gag, but to see the real emotions these lyrics were bringing out of this white pastel face performer. He was also extremely expressive when singing. His voice created a wall of sound that wrapped around you in a way you never knew a voice could. I have never heard someone carry such a beautiful tone in person before. The main aspect of this concert that made it great was Puddles’ amazing voice. I won’t lie, I was shocked to see such young children love this 6-foot-tall clown, but it was a heartwarming sight to see them run up and tackle him for a hug. I was shocked to see that the age of the audience ranged from middle age to toddlers. The cheers of joy when seeing Puddles accomplish something as wacky as skidding a stool across the stage was something that made the show a warm place to be. The audience was definitely a great aspect of this concert, with nonstop love being shouted at the stage. The way he graciously greeted and treated all the participants was something that warmed my heart. The amount of time Puddles spent taking audience members to the stage and including them in on gags and his powerful performances was something I was shocked and delighted to see. Once the show started, Puddles started with an onslaught of hilarious physical gags that caused the audience to be in humorously tense anticipation, with people calling out from the audience through out to support the clown performer. This adorable act of love and kindness was something to behold, but I was happy to see how Puddles made it a point to shake hands and thank all the Englert’s ushers and workers before beginning his show. He took the time to shake hands, greet, and hug as many people as he could before he took the stage. This sense started when Puddles walked all around the balcony, and floor seating before the show started. It was filled with both a heightened sense of excitement, but also a large amount of playfulness. The environment of this concert was something I never have experience before. With everything from physical comedy, audience participation, and a wickedly powerful yet beautiful voice, Puddles owned his performance. Puddles the Clown took the stage at the historic Englert Theater last night in a truly astonishing fashion.

He may actually have long-term fans.Puddles (Image via: Witching Hour Festival) On Tuesday, he certainly made both the humor and singing fresh.Īnd after the show, a good chunk of the audience lined up for pictures and autographs with Puddles. Much as a clown in the circus is ageless humor, Puddle Pity Party may have found a formula that can work for far longer than the trendy YouTube splash made it seem. He also did a snippet of “Let It Go” during Styx’s “Come Sail Away,” then closed with Elvis’s “It’s Now or Never.” Unfortunately, he spent most of the performance of “Royals” running through the crowd messing with peoples’ cell phones (that’s his signature hit).īu he recovered by combining very good singing with good humor on Davis Bowie and Queen’s “Under Pressure” – having an audience member eat food he gave him as he morphed Freddy Mercury’s scats into “Eat it up/Eat it all up” – and mashed it up with the “Frozen” song “Let It Go.” Puddles’ real tour de force was a reading of Leonard Cohen’s “Hallelujah” that show just how good his voice really is. Puddles had just settled down to eat popcorn when the music to Tina Turner’s “We Don’t Need Another Hero” came on and he spent the better part of the song spitting out a mouthful as he sang. One of the funnier moments was a true moment of clowning. Puddles pulled an older gentleman from the crowd to sing inept karaoke of Eric Carmen’s “All By Myself,” causing Puddles to empty another box of tissues in a mock crying fit, and in pantomime he raved over the man’s performance. But it was funny when Puddles mashed it up with Adele’s “Hello.” A seated, full-voiced version of “Danny Boy” was unspectacular, but again, a film of a toddler boy crying behind him was funny. Tom Waits’ “Back in the Crowd” was very good, as was a country western version of The Who’s “Pinball Wizard.” Coldplay’s “Fix You,” too, was a really good performance, but a film of failing robots that played in the background during it was subversively funny.ĮLO’s “Telephone Line” wasn’t as good and, designed as an audience sing-back, fell flat. Similarly, a slow, studied version of Cheap Trick’s “I Want You to Want Me” was OK, but silly images of chickens on the screens him made it funny.

Clown singing pinball wizard