George Slender walked into Pioneer Village, headed straight for his usual spot, ordered a single malt whiskey, and then leaned back in his chair to quietly watch the performance.
The singer on stage looked like a boy-next-door, with no aura of a star, easily lost in a crowd, which gave the entire performance a relatable charm. However, the faint sadness hidden in the lody was so genuine that George couldn't help but close his eyes and savor the lyrics.
George found himself pleasantly surprised.
Nowadays, there are more and more singers, but the threshold is getting lower. This is partly due to the grassroots fa frenzy sparked by "Arican Idol," and partly because the comrcialization of the music market is accelerating. Music, as a commodity, is increasingly judged by the singer's appearance, comrcial value, and market response, while essential elents such as singing skills, musicality, pitch accuracy, and songwriting ability are being neglected.
Yet, this boy-next-door had a remarkable sense of music. More importantly, the lyrics and lody of this original song were quite impressive. Such singer-songwriters are becoming increasingly rare, which is one reason why soone like John Mayer, who has so songwriting ability but isn't particularly stunning, is highly regarded by the Grammys.
Although George had only heard one song and couldn't draw a conclusion yet, he noted that the boy's pitch was a bit unstable, and it remained to be seen how well he handled higher notes. Moreover, it was uncertain if this song was a one-off success or just the tip of the iceberg of his talent.
Nonetheless, the appearance of such a songwriter was indeed a pleasant surprise. The music market needed more fresh blood like this. Otherwise, if music beca a fast-food commodity, the market would beco increasingly dull and lose its aning.
After the song ended, Stanley ca over and sat down in the empty seat next to George, wearing a familiar smile. George, ever critical, didn't hesitate to speak up, "Did you call here just for this big boy?"
Though the performance was good, it was far from "jaw-dropping," certainly not worth a special trip. Had Pioneer Village fallen so low? Was the music market so bad that Stanley couldn't wait to invite him repeatedly to the bar to appraise a young singer with so songwriting ability?
"To be honest, I'm a bit disappointed," George said bluntly, showing no rcy.
Stanley, well accustod to his old friend, didn't mind at all and instead chuckled, "As you get older, your patience seems to be wearing thin. If even you're like this, what can we expect from the market?"
His retort left George rolling his eyes but unable to argue back. He took a sip of his whiskey and refused to respond.
Stanley smirked but didn't jump to the main topic. Instead, he asked, "Have you had dinner? The usual?"
"Besides that one dish, the rest of your dinner nu is inedible," George replied disdainfully, waving his hand dismissively as if to shoo Stanley away like a fly.
After a "top-notch" performance, Ed finally cald down. The enthusiastic applause from the audience was encouraging, and his subsequent performances steadily improved, returning to his usual level. Although thirty minutes sounded long, it ended in no ti. Feeling both excited and a bit lancholic, Ed took a deep breath, "For the last song tonight, with the original singer's permission, I have adapted it to express my admiration."
After calming his inner excitent, Ed began strumming his guitar again. The lody started, and soone in the bar whistled, adding a touch of liveliness to the quiet bar, which made Ed smile.
"Ophelia," Ed chose this song not only because it was born the night he t Renly but also because it rekindled his determination to pursue his dreams. More importantly, Renly's songwriting talent amazed him once again. Whether it was "Cleopatra" or "Ophelia," the lyrics were poetic and beautiful, worthy of deep appreciation, and Ed truly admired him.
Clearly, Ed wasn't the only one in the bar who liked "Ophelia" and was familiar with Renly Hall. The whistling was the best response, and even Neil and others at the bar raised their hands, clapping to the beat, joining Ed's performance.
Perford with a guitar, "Ophelia" felt a bit thin. The joy and freedom in the lody were reduced, making the sadness and loss more pronounced, dancing in the clear guitar strings. Ed's singing wasn't stunning, but his voice had a narrative quality that brought the story to life with the rise and fall of the music, making the whole song vivid.
??Oh, Ophelia, you've been on my mind, girl, since the flood
Oh, Ophelia, Heaven help the fool who falls in love??
George's hand holding the whiskey paused in mid-air. This song truly brought a taste of surprise. The smooth lody, profound lyrics, and the contrast of joy and sadness revealed a mature and free-spirited talent, showcasing brilliant songwriting.
From a comrcial perspective, the earlier "top-notch" song might be better due to its pop elents, making it more accessible to the public. But in terms of artistic value and song completion, George personally felt this song was slightly better, a song worth savoring.
Ed's performance was quite good, even better than the previous songs. The story behind the lyrics was deeply engaging. However, Ed's high notes were unstable, smoothing out the lody's edges and interpreting it in a narrative way—moving, but lacking so soul-stirring impact.
Objectively, Ed's storytelling was closer to life, like "The A Team," where simple taphors and straightforward narratives hid his life insights. But "Ophelia's" story was more poetic and profound, akin to a thick "Complete Works of Shakespeare," requiring enough life experience and a calm mind to appreciate its depth.
Music creation not only reflects the creator's experiences and talent but also reveals the underlying heritage, culture, and even class, which is why music is considered one of the seven major arts.
George was more curious about how the original creator would perform this song. What kind of singer could write "Ophelia"? George pictured soone like Johnny Cash—world-weary, decadent, gloomy, seasoned, somber, volatile, possibly even a poet or literary creator... This further reminded George of Bob Dylan.
After the song ended, Ed took a bow amid the applause and then slung his guitar over his shoulder, speaking into the microphone, "That concludes my performance tonight. Next, I'd like to invite the original singer of 'Ophelia' to perform the original version. Ladies and gentlen, please welco Renly Hall."
George looked towards the side of the stage and saw a big boy in a white T-shirt and black jeans—a literal boy, his young face looking no more than a boy.
For folk music, which requires thought and experience, age is the greatest asset. A life of ups and downs is essential to shape the lody. People often say suffering is torture for life but a treasure for art. But this boy on stage looked under thirty—no, under twenty-five, which was unbelievably young.
Although there have been prodigies in history, like LeAnn Ris, who amazed Arica at fourteen and won two Grammy Awards the following year, making her the youngest Grammy winner ever, LeAnn's style was country-pop, not folk.
George's first reaction was—it couldn't be this boy who wrote it; the real songwriter must be soone else. This explanation made more sense. But even if not the songwriter, simply singing the song requires enough life experience to grasp its world-weariness, as Ed's performance showed. Now this boy... was he going to sing "Ophelia"?
This wasn't so young people's "truth or dare" ga.
George couldn't help but feel repulsed. He didn't like people treating music as a joke. Was it Ed's introduction mistake, his misunderstanding, or Stanley's misjudgnt? Looking at the young boy on stage, George felt an instinctive dislike—his initial impression worsening, even though he knew the boy hadn't done anything yet.
First impressions are often so mysterious. A simple detail or a random action can lead to a judgnt. But such a judgnt can often determine countless relationships.
George decided: he didn't like this boy.
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