Freudmann performed before a large crowd on Friday night. His skilled playing of the cello created a spirited, cheerful blend of folk and blues rock that is like Yo-Yo-Ma on steroids. Freudmann’s music has the rhythm of a guitar player, only played on a cello. “Unlike other cello players, my music is actually good,” quipped Freudmann.

He used a digital extension to his cello to stimulate pitch shifts, live digital delays, and looping. This device enabled him to create a unique live experience.

His touch of humor also helped to keep audience members enthralled for the entire show. “What’s the preferred technical [device]—an abacus or a slide rule?” An audience member amusingly responded with “a graduate student.”

The dynamic, moving sound of Freudmann has helped to get his music frequent airplay on National Public Radio in between public announcements. “I hate performers that are just too polished. Everything’s all rehearsed ... I hope [that] I’m not like that.”

Freudmann has made nine recordings during his career including the recent CDs More Batteries, Ukrainian Pajama Party, and Hologram Crackers.

Gilbert performed in Mother’s on Saturday night. His pure, soothing voice, expert guitar work, and powerful vocals, and humorous interaction with the audience members created a very enjoyable show. The notes of Gilbert’s stirring music were so well tuned as to create the effect of each one being felt inside. He is just like a one-man Dave Matthews. “I’m like a cross between Pat Boen and Anne Defranco,” said Gilbert.

His synchronized guitar play is perhaps the best I have seen, and his audience interaction is up there with Roy Atkinson’s. He amusingly joked with several of the audience members in the front during the show “You want to come here? It’s a polytechnic school—that means lots of technical things, “ said Gilbert to a fifth-grade in the audience who enjoys mathematics. I most enjoyed his song about Amelia Earheart’s flights. “Folk singers can do that—we can write letters to dead people,” said Gilbert.