What made the moment especially poignant was how the chorus balanced technical mastery with heartfelt delivery. While “Carol of the Bells” is often associated with commercial cheer, the Gay Men’s Chorus imbued it with dramatic gravitas, reminding listeners of the piece’s Ukrainian roots and its timeless evocation of winter’s urgency and wonder.

The chorus leaned into the emotional core of the piece, delivering each phrase with clarity and tenderness. Swells of sound built gradually throughout the performance, echoing the boy’s growing confidence as he played his drum. The climactic moments were rich and resonant, filling the sanctuary with waves of sound that felt both grand and deeply intimate. Solo lines were handled with sensitivity, and the rhythmic pulse—a hallmark of this carol—was steady and compelling without overpowering the ensemble’s lyrical focus.

From the first note, Irizarry’s performance was marked by a sense of spiritual stillness. He sang not merely as a performer but as a vessel of the text’s intention, imbuing each phrase with sincerity and humility. His voice, warm and unwavering, carried through the sanctuary with an angelic quality, drawing the audience into a collective moment of reflection.

From the moment they stepped forward—channeling the iconic Andrews Sisters aesthetic with a wink and a smile—Florio and Smith had the audience in the palm of their hands. Their chemistry was instant and infectious, their timing sharp, and their comedic flair effortlessly balanced with solid musicianship. Each gesture and glance was filled with character, drawing hearty laughter and applause from the crowd, who clearly relished every second of their campy, charismatic rendition.

Sam Brown and Hayden Greer anchored the performance with vibrant vocal interplay, while Gabriel Irizarry soared above the texture with clarity and power. Their voices, supported by the tight harmonies of the ensemble, created a sonic tapestry that felt both sacred and electrifying. The Rainbros didn’t just sing the piece—they inhabited it, blending theatrical expression with polished choral technique.

Kent Nicholas took the lead with a commanding yet tender presence, his voice carrying the opening lines with rich warmth and an emotional resonance that immediately drew the audience in. As the piece built toward its signature climactic moments, Nicholas navigated the challenging vocal terrain with apparent ease, delivering the iconic high notes with both technical control and expressive urgency. His performance was not merely a showcase of vocal prowess—it was a prayer in song, deeply felt and exquisitely executed.

As the medley concluded with a flourish of “Jingle all the way!”, the audience responded with enthusiastic applause, laughter, and cheers—clearly delighted by the chorus’s infectious energy and creative interpretation. It was the kind of performance that perfectly captured the spirit of “Slay Bells”: festive, funny, and filled with heart. With the “Jingle Bells Medley”, the Gay Men’s Chorus of Tampa Bay once again demonstrated their unique ability to blend top-tier choral performance with theatrical showmanship. It was pure holiday joy—wrapped in harmony and delivered with a wink.

With a gleam in his eye and a twinkle in his voice, Hewett delivered the song’s cheeky, confessional lyrics with charisma and charm. “Coming Out at Christmas” tells the story of a young man choosing the most festive (and possibly chaotic) time of year to come out to his family—a relatable and deeply personal narrative for many LGBTQ+ individuals, served with a generous helping of humor and heart. From awkward family dinners to rainbow revelations under the mistletoe, the song captures both the anxiety and the liberation of living one’s truth during the holidays.

Nestled within a program that ranged from sacred classics to fierce camp and queer holiday joy, “The Chipmunk Song”added a whimsical twist, reminding everyone that the holidays are as much about laughter as they are about light. With just four voices, a lot of creativity, and some well-placed squeaks, Compton, Lastorino, Tricarico, and Miller delivered a performance that was both hilarious and heartwarming—a truly unforgettable moment in Slay Bells. If the holidays ever felt in danger of taking themselves too seriously, this performance squeaked in just in time to save them.

Sung with restrained beauty and clear affection for the music, the performance was less about showmanship and more about shared feeling. The ensemble’s unified tone and expressive phrasing created an atmosphere of intimacy in the spacious sanctuary, inviting the audience to lean in and reflect. The familiar lyrics—“Through the years we all will be together, if the fates allow…”—took on renewed meaning in the context of community, chosen family, and resilience.

Martello’s phrasing was graceful and sincere, allowing each word to land with clarity and intention. He avoided imitation of Houston’s iconic rendition, instead bringing his own heartfelt interpretation to the piece—honoring the original while making it uniquely his own. His vocal warmth, gentle vibrato, and dynamic control created a deeply moving experience, drawing listeners into the wonder and humility of the Christmas story.

From the first coy “Santa baby, slip a sable under the tree…” the audience was hooked. With winks, sways, and tongue-in-cheek delivery, the singers brought the iconic tune to life with delicious camp. Yet beneath the surface-level fun, the performance was polished and musically rich. The vocal blend was tight, the timing crisp, and every gesture felt purposeful—proof that humor and high-quality musicianship are not mutually exclusive.

Hewett took the stage alone, the lights soft and the atmosphere intimate, offering a quieter, more introspective contrast to the evening’s campy showstoppers and festive choral anthems. With a smooth, expressive voice and effortless charisma, he delivered the modern Christmas ballad with aching sincerity. The lyrics—playful yet emotionally charged—tell the story of someone watching a loved one fall for all the traditional holiday magic, while quietly believing they could offer something more real, more lasting.

With his rich, expressive tone and natural stage presence, Hession took on the solo lines with heartfelt sincerity, his voice aching with the quiet sorrow and yearning at the heart of the song. From the first lines, “The fire is burning, the room’s all aglow,” his delivery was intimate and nuanced, never overdone—allowing the lyrics’ emotional weight to carry through unfiltered.

This number showcased not just the ensemble’s musicality, but their ability to connect with an audience. As they sang of love and gratitude during the holidays—“You’re all I need underneath the tree”—the performance became a shared moment of communal joy, bridging the gap between pop music and choral artistry. The audience responded with tapping toes, clapping hands, and wide grins, swept up in the sheer exuberance of the piece.

With a smooth tenor and an effortless sense of style, Rolon paid homage to the legendary crooner while adding his own graceful flair. His voice, rich and velvety, glided through Berlin’s cheerful melody with ease, offering just the right balance of nostalgia and nuance. From the first notes, Rolon exuded the easy elegance that defined the original while making the performance feel fresh and personal.

The chorus sang with polish and playfulness, their voices unified and expressive, each phrase full of personality. With lyrics that speak to the universal wish for love at Christmas—“Santa, can you hear me?”—the ensemble brought warmth and emotional sincerity beneath the pop sheen. There was joy in the delivery, but also heart in the message, making the performance more than just a crowd-pleaser; it was a lighthearted but earnest moment of seasonal longing.

Florio’s solo was simple, clear, and deeply heartfelt. With a voice that carried sincerity and warmth, he delivered the opening lines—“Let there be peace on earth, and let it begin with me”—with a quiet strength that immediately drew the audience in. There was no theatricality in his approach, only earnestness and grace, which made his performance all the more moving.