King of Spain
In one of the most delightfully unexpected and spirited moments of the Gay Men’s Chorus of Tampa Bay’s spring concert “Say My Name!”—performed at the Jaeb Theater at The Straz Center on March 22, 2025—six members of the ensemble took the stage to present a whirlwind performance of “King of Spain” by Canadian folk-pop group Moxy Früvous. Featuring Jim Beaty, Chuck McSorley, Will Hession, Fabian Gonzalez, Scott Lockard, and Zac Clements, this tongue-in-cheek number delivered infectious energy, rapid-fire lyrics, and theatrical absurdity, quickly becoming a fan-favorite of the evening.
“King of Spain,” known for its playful storytelling and quirky satirical style, tells the tale of a fallen monarch now working at a pizza place, looking back on his former royal life with mock-serious nostalgia. The sextet leaned fully into the ridiculous premise, delivering a performance brimming with exaggerated accents, comedic timing, and expressive character work. Each performer brought a distinct personality to the piece, turning the song into a mini musical skit full of shifting roles and physical comedy.
Jim Beaty took the lead as the self-declared former king, weaving through the song’s twisty verses with clarity and humor, perfectly balancing bravado with buffoonery. Musically, the group handled the song’s quirky rhythms and shifts in dynamics with polish and precision. Their harmonies were tight, and the comedic pacing—so essential to Moxy Früvous’s distinctive style—was spot-on. Whether bantering in faux royal tones, miming mundane tasks like “making pizzas” with exaggerated nobility, the ensemble made the song their own.
In the thematic context of “Say My Name!”, a concert exploring the power of names, identities, and self-perception, “King of Spain” offered a humorous counterpoint—a tale of delusion, reinvention, and imagined glory that poked fun at ego and fantasy. It reminded the audience that while names may carry weight, they can also be playfully dismantled and redefined with laughter and satire.
The audience at the Jaeb Theater responded with thunderous applause and delighted cheers, fully swept up in the offbeat humor and tightly executed delivery. It was a testament to the chorus’s range—not only vocally, but creatively—proving they could move from heartfelt ballads to riotous comedy without missing a beat. “King of Spain” may have started as a quirky folk-pop tune, but in the hands of these six performers, it became a comedic crown jewel of the evening.