My Favorite Vocal Performances

Often, I feel like the way we talk about music is too reductive, and we paint with too much pigment in the brush. Great bands are always making great music, great voices are always giving great performances, and so on and so forth. But even for those who we consider great, or our favorites, there are certain moments and performances that stand out even from the others. Sometimes it's even a singer you normally wouldn't put high atop a list, who just so happens to have voiced one song in a way that captures your heart.

Today, that's what I aim to do. This is by no means an exhaustive list, but these are some of my favorite vocal performances. And while I won't be able to fully convey what it is I love about them, maybe it can continue to explain a few things about the way I see the world.

Dilana on "Dirty Little Secret"

If you ask me what pouring your soul out through your voice sounds like, it would be this. From tender cooing to earth-rattling volume, Dilana gives a tour-de-force as we orbit her heart, leaving us feeling as if we know every side of her in just four minutes.

Kelly Clarkson on "Maybe"

This is a raw performance, from a raw record, and that's what I love most about it. Whether it's the soft resignation at the beginning, or the defiant volume toward the end, Kelly is in full 'don't give an eff' mode, telling us her truth matters more than putting on a pretty air. She's right.

Jim Steinman on "Bad For Good"

It would be easier to pick a Meat Loaf performance of a Steinman song, but I love Jim's version of this song so much. It's rough around the edges, for sure, but no one else can match how much he believes in this music. All the idiosyncratic things no other singer would do are what make it so special. Jim wasn't a great singer, but he nailed this one.

John Popper on "Once You Wake Up"

On "Zygote", John sang almost as a voice actor, molding his approach to the character of the songs. Every twist was interesting, but my favorite has always been this, where power is used in just the right way. From the dreamlike verses to his rousing bellow in the chorus, his voice alone tells the story of the song. That's impressive.

Dan Swano on "Patchworks"

The best harsh vocal I've ever heard. Dan's voice sounds pained and tortured, but never inhuman. It's as if we can hear the rust scraping off his throat with every note, throwing a cloud of rot into the air. There is a remarkable clarity to his voice, and it makes the hell that much more real.

Lzzy Hale on "Innocence"

Picking one Lzzy performance is difficult, but I have to go with the first one that squeezed my heart. Lzzy's tone is amazing throughout, but when the band backs down to give her room to scream into the last chorus, it's magic. When Hall & Oates sang about a maneater, those couple of seconds are what they meant.

Joakim Nillson on "Slow Motion Countdown"

Graveyard plays with dynamics, and on this song Joakim's vocals have never better exemplified that. His low tones are beautiful, and when he lets loose as the song builds, he has the perfect amount of grit to sand off the polish. His voice becomes a howl, and it echoes through the still night air.

Phil Mogg on "Dancing With St Peter"

Voices age just like we do, but few of them get better when they get technically worse. Phil Mogg's did, and this song couldn't have been what it is if he sang it when he was younger. The weariness in his voice is perfect, and captures the the essence of love and loss, using the limitations to wring more emotion, to great effect.

Howard Jones on "Lost"

Singing at full power, but retaining emotion, is hard to do. Howard is able to belt this song, but have his voice resonate in a way that cracks open and lets the emotion seep out. I can feel this song through the speakers, and that feeling has never dulled.

Elton John on "Original Sin"

What I love about this song is how much Elton is able to get out of so little. He sings quietly, lower in his range, and yet the song carries a full range of drama. It's as if Elton reduced the power so you can hear the nuances of his performance, like how a whisper can sound more important than a scream.

Natalie Imbruglia on "Torn"

I've said before I find this song to be the epitome of sex appeal, and Natalie's vocal is a big reason why. Her breathy, innocent tone that builds throughout the song has the same feeling as a whispered breath in your ear. How can that be beat?

VK Lynne on "Bromelaid"

I could give VK credit just for making photosynthesis sound amazing, but what kills me are the little yelps she lets out at the end of the choruses. They're unexpected choices, and so damn charming. Is that perhaps the sound of cute?