Pentatonix Prove the Human Voice Still Matters Most with Hometown Show

Before synthesizers, before recording studios and before artificial intelligence, there were voices. In tones and qualities unique to each person, wonderfully diverse vocalists have woven their songs through the human experience. Research suggests that singing may even have been what early humans used to communicate before the invention of language.

Pentatonix, the three-time GRAMMY® Award-winning a cappella quintet of Scott Hoying, Mitch Grassi, Kirstin Maldonado, Kevin Olusola and Matt Sallee, reminded a rapt Fort Worth audience of the beauty of human voices when they stopped by on their Christmas in the City promotional tour. Their eighth holiday album carries the energy of the Big Apple during Christmastime, and their polished performance of seasonal favorites delighted the crowd. 

Christmas in the City stands out as the first time the group has incorporated instruments into their music, rather than performing a cappella solely. It’s a new chapter for them, one that expands their sound while staying true to the heart of what fans love. It also features a collaboration with the late Frank Sinatra on a previously unreleased recording of “I’ve Got My Love to Keep Me Warm.”

 As Pentatonix opened their set with the title track, we could see families dressed in Christmas sweaters adjusting to and embracing this new approach while they applauded. An impressive and technically precise rendition of “12 Days of Christmas” followed, with bass generated by Sallee and rhythm provided by beatboxing star Olusola. 

Pentatonix also sang a dazzling cover of “White Winter Hymnal” by Fleet Foxes and performed on-the-spot originals, which only bolstered the festive energy with an element of surprise. After rolling two large inflatable dice to determine the song and the manner in which they would perform it, the audience was treated to “Dance of the Sugar Plum Fairy,” Broadway-style, and the sea shanty version of “We Need A Little Christmas.”

Since three of the members of Pentatonix are from Arlington, this show served as a homecoming for Maldonado, Hoying and Grassi. At one point, Maldonado brought her charming young daughter out on stage to wish everyone a merry Christmas. Of course, she also wanted to know where her Nana was in the crowd. At others, Hoying expressed gratitude for the unwavering support Pentatonix has received since 2011, or led the audience in a “Hallelujah” sing-along that he promised to post to TikTok. These moments of sincerity between songs helped build the sense of community.

Pentatonix frequently blends multiple songs into medleys, which they did several times throughout the evening. Although they appeared to be popular with the crowd, we found them to be less appealing. The manic “Jingle Bells” and questionable “Mary, Did You Know?” (she did know, the angel Gabriel appeared to her and explained, see Luke 1:26-38) weren’t our favorites, either.

During the intermission, we reflected on what has made Pentatonix so successful. Their vocal talent is evident, but it is their crafted arrangements, which utilize space, breath and silence as additional instruments, that truly shine. In an age of over-production that fills every frequency, Pentatonix, at its best, strips everything down. That vulnerability and simplicity is endearing. However, we’re willing to grant that after 14 years, the group has the artistic right to experiment with backing tracks and to go in a different creative direction.

After the break and a costume change, Pentatonix returned with “Holly Jolly Christmas” and their original “Snowing In Paris,” both of which are featured on Christmas in the City — the former also features vocal powerhouse JoJo on the album version. Next, a sequence of holiday misfits amused the audience, including appearances by Mr. Grinch and Elf on the Shelf.

A standout performance by Sallee on drum kit and Olusola on electric cello followed, and they crushed a near-metal version of “O Come, O Come, Emmanuel” which is originally based on ancient Latin antiphons from the 9th century. Their modern update of this classic hymn received a standing ovation.

Another poignant moment was delivered by Hoying when he prefaced their original song “Humankind” with the happy news that he and his husband are expecting their first child. Not only does that mirror the Christmas story and the arrival of another anxiously awaited infant, but it’s also especially moving since Hoying’s hometown of Arlington just removed ‘gender identity and expression’ and ‘sexual orientation’ from its anti-discrimination ordinance, making it the first U.S. city to roll back such protections for LGBTQ+ people. Despite that despicable decision by the Arlington City Council, we offer sincere congratulations to Hoying and family, and wish him a wonderful parenthood.

The concert concluded with an upbeat dance party to “It’s the Most Wonderful Time of the Year” that had everyone on their feet. People were moving and applauding, and some of the packed house started making their way to the exits when the song ended. 

But a stunningly beautiful encore ensued. All five members of Pentatonix circled around a vintage condenser microphone. There was no flashy choreography or background visual effects. They interlaced “Pure Imagination” from the movie Willy Wonka & the Chocolate Factory with the classic “Christmastime Is Here” and it was gorgeous. Their pitch accuracy and tight ensemble timing reminded us that people singing along in perfect harmony can deliver an unexpected emotional punch. Indeed, the human voice is the original musical instrument, and remains a powerful path to communal catharsis.