Friday, March 6 posed a bit of a dilemma for Bates students, having to choose between the women’s basketball NESCAC championship game and the much beloved Sex Week A Cappella concert. Despite the “High School Musical” situation, Gomes Chapel filled with numerous students, who were more than ready to embrace Sex Week with their favorite a cappella groups.
Hitting the evening off on the right note were the Crosstones. The group took to the stage in proper sex week fashion, with short shorts and low cut tops. They built just the right amount of excitement for the audience at the first sound of the tuning harmonica before they launched into their first number: “I Don’t Wanna Live Forever” by ZAYN and Taylor Swift.
Soloists Winslow Bouverat ‘29 and Reese Hillman ‘26 were thrust into center stage for their solos on the song. Hillman’s voice especially elevated the song, as it was particularly clear and full.
Before their second number, the group performed a skit on consent through a heavy-handed dancing metaphor. They not-so-subtly reminded the audience that when asking for consent, it only applies to the one “dance” asked about. The skit’s humor and silliness nearly elicited more cheers than their musical performance.
The group finished with “Jaguar” by Victoria Monét. Soloist Moriah Scharn’s 26 performance was particularly penetrating, inspiring some audience members sitting behind me to say “Oh my god!” at her vocal talent.
Overall, the Crosstones were a pleasure to listen to. However, I was left wanting more, and would have liked to see some more sex week choreography. There’s nothing quite like some spirited movement to ignite the chemistry on stage.
Taking the stage for round two was the all-women’s a cappella group, the Merimanders. Shimmery and sheer, their black lingerie uniform had the group looking the part before they even began singing. Their first number, “Greedy” by Ariana Grande, started with a quick bang. Sophia Cocchiarella ‘26 was the featured soloist on the song and had the audience gagged. The passion that she sang with was punctuated by a voice that was full and crisp.
The Merimanders’ sex education skit recreated a conversation that women might have with each other. Candid, bold and humorous, the group could barely get through their scripted conversation on masturbation, body count and sex toys without being fully consumed by their giggles. Their encouragement to attend Sex Week Trivia— “If you’re paying this much for an education, you might as well get a rose toy and some pink handcuffs out of it”— was particularly well received, earning some spirited whoops from the audience.
In their second number, a mashup of Rhianna’s “S&M” and Flo Rida’s “Low,” they were able to slip in every group member with each performer having a feature in the song. The effect had sparks flying in the chapel, with each new performer making the crowd scream their names. Seamless transitions between the songs and silly choreography seemed to really hit the spot for the crowd, getting the audience excited. I was rather impressed with the Merrimanders in this concert. Their arrangements, which fully took advantage of each vocalist’s talent, didn’t make me want what I couldn’t have (i.e. instruments).
Takenote came on stage next, opening their performance with “touch tank” by quinnie, featuring soloist Ava Elghanayan ‘26. Elghanayan’s performance was impressive, her voice having an indubitable strength. The song choice itself was not my favorite choice– the lyrics being more depressing than suggestive. That said, the performance nevertheless got the audience riled up.
Takenote’s skit addressed STIs and highlighted the importance of getting regular tests at Bates Health Services and wearing protection. In the same breath that the group implored their skit character to avoid baseball team-cest, they also discouraged a cappella-cest. To this, they poked fun at the frequent coupling of a cappella group members saying, “Of course not! Then I would give everyone STIs.”
The group finished with a crowd-favorite: “Maneater” by Daryl Hall & John Oates featuring soloists Izzy Kent ‘28 and Samantha Gabel ‘26. The number was fun, especially with the fact that Kent looked like the maneater was coming for him while he was on stage. Whether intentional or not, I enjoyed it all.
The ManOps followed, donning blazers and their naked chests. They began with “Me and Your Mama” by Chilish Gambino. Alex Appleton ‘27 burst into the song with titillating force, inspiring whoops and screams from the crowd. He really sold the performance with just the right amount of theatrics.
Their skit interlude focused on exploring sexuality. The skit had one character who thought he might be gay visit “gay mountain” on top of which the “head gay” was listening to his gay spiritual hymns (i.e. Chappell Roan). The conversation lasted longer than it probably needed to, but left the audience with the invaluable message that sexuality is an individual journey that is figured out through trial and error.
The climax of the group’s performance was their subsequent performance of “It’s Raining Men” by The Weather Girls. The group knew how to move together with choreography that elevated their performance. Soloists Arnav Panigrahi ‘27, Chandler Folkerts ‘29 and Benji Richards ‘27 gave a performance that was majorly touching. If they ever had any performance anxiety no one would ever know, as the performers sang with full confidence and enthusiasm. Their energy was contagious and got the crowd extremely riled up.
The Deansmen closed out the evening, donning the stage in a more stripped down version of their usual tuxedos. The group took advantage of their lower register by singing “Your Man” by Josh Turner. Soloist Toby White ‘28 really bodied the song, doing a great job.
The Deansmen’s skit covered the sensitive topic of abusive relationships. By simulating a conversation among friends about a seemingly perfect relationship, the group identified symptoms of a physically and emotionally abusive relationship, encouraging the audience to recognize such signs. They noted that healthy relationships require accountability on both sides and encouraged their audience to “chase love and healthy relationships.” Of all the skits, this one wasn’t my favorite, as it made too light of an extremely serious topic. However, the audience seemed to appreciate the group’s quips and nods to Burke and the Goose.
The night was complete with a happy ending performance of “I’ll Make Love to You” by Boyz II Men, featuring solos from Jack Campbell ‘28 and John Campana ‘26. Though the start of the number was somewhat rough, the group began to glide when they got to the chorus of the song. The soloists helped work out the kinks, with a voice that was striking and full.
In all, the concert came together excellently, putting everyone in the mood at the end of Sex Week 2026. Fun, flirty and a little bit dirty it almost felt over too quick.
