The Gray Cage hummed with activity and excitement as students and families filtered in, eager for the Parent’s Weekend A Cappella Concert to begin. Upbeat pop tracks played overhead, fueling the excited energy in the room. When the lights dimmed and the music faded, a ripple of applause spread through the crowd, signaling the show was about to kick off.
The night opened with the Manic Optimists, one of Bates’ beloved all-male a cappella groups. They stepped onto the stage shrouded in jean jackets and boyish charm. Senior ManOp Josh Collins kicked the concert off with a solo on “Killing Me Softly With His Song” that immediately drew the audience in. Their next number, “You Make My Dreams Come True,” had the crowd clapping and swaying along. With their signature blend of humor—exhibited by a silly, self-deprecating skit introducing their newest member—and powerhouse vocals, the ManOps set the bar high for the rest of the night.
Following the all-male ManOps came The Merimanders, the only femme and nonbinary a cappella group on campus, dressed in their all-black ensembles paired with striking red shoes. The group launched into a stunning rendition of “Please, Please, Please” by Sabrina Carpenter, arranged by the talented Alison Robelen ‘25.
The soloist, Misra Ahmed ‘28, had the audience whooping with her breathtaking vocals, particularly Amanda Jenkins ‘26, who gushed, “It was in-cred-ible!” They followed it up with “Walking on Broken Glass” by Annie Lennox, another crowd favorite, with Robelen herself delivering a knockout solo.
The energy kept climbing as The Crosstones took the stage, their signature black outfits accented with splashes of Crosstones green. They are one of two all-gender a capella groups at Bates, along with TakeNote. They kicked off their set with “Leave the Light On” by Maggie Rogers, featuring Gabriela Ruberto ‘25. Their second number, “You Make Me Feel Like A Natural Woman,” with soloist Aimée de Montlivault ‘28 leading the charge, truly wowed the audience. Sophie Leight ‘26 raved about Montlivault’s “effortless runs.”
The Deansmen followed, bringing both humor and harmony to the stage in their tuxedos—except for a few notable exceptions. The newest members of this male and nonbinary-identifying group stood out in goofy costumes, including Minnie Mouse ears and reindeer antlers. They opened with a hauntingly beautiful performance of “Work Song” by Hozier, with Miles Hagedorn ‘25 delivering an emotionally resonant solo. But it was the group’s second song, “Pink Pony Club,” featuring an electric solo by Lee Kenney ‘26, that brought the house down. Kenney’s powerful vocals had the crowd dancing and cheering along. The song was arranged by their own John Campana ‘26.
And just when it seemed the night couldn’t get any better, TakeNote closed the concert with style. They all looked like they were having fun up there on the stage as they sang “Too Sweet” by Hozier, with Danielle Goodman ‘25 nailing the solo.
Maia Seigerman ‘26 was singing TakeNote’s praises throughout the whole performance: “They all sound so blended and harmonious, and Danielle has an incredibly powerful lower register. Also, Brandon is killing the beatboxing.”
TakeNote president Fiona Wilson ‘25 brought the evening to a climactic close with her passionate solo on “Happier Than Ever.”
As the concert wrapped up, the debate over who “stole the show” was well underway. Mattea Baumgardner ‘26 attended the concert with her parents, who had differing opinions—her mother’s favorite was the Deansmen with “Pink Pony Club.” Ruby Martin ‘27 agreed, saying that “Lee has the voice of an angel.” Mattea’s dad, however, preferred “You Make My Dreams Come True” by the ManOps, stating that they “nailed Daryl Hall.”
Opinions may have differed, but one thing was clear—everyone left the concert with a smile on their face, and at least one of these songs stuck in their heads.
