Stephania Christakos
On April 19, nearly 2,000 attendees flocked to the Walt Disney Concert Hall in downtown Los Angeles for a night of vibrant synthesis between classical and pop music: Cody Fry and the Hollywood Bowl Orchestra. My two friends and I settled into our balcony seats, enjoying our perfect view of the auditorium.
The concert began with all the grandeur one can expect from an orchestral performance. As the lights dimmed and the Hollywood Bowl Orchestra completed its tuning, the chamber fell into a momentary silence. Then, conductor Scott Dunn took the stage, and the entire concert hall erupted into thunderous applause. A sweeping classical crescendo followed to set the tone for the show; as it reached its peak, Cody Fry bounded onto the stage with his fists pumping in the air and a wide smile on his face. The crowd’s applause transformed into excited shouts and cheers.
Taking his seat in front of the piano, Fry began his set with his hit song “I Hear a Symphony,” a cathartic symphonic-pop anthem. As he moved through a string of his other viral tracks — my favorites being “Photograph,” “Go,” and “Underground” — the synergy between his flawless vocals, guitar and piano playing, and the orchestra’s lush arrangements created a breathtakingly joyful and awe-inspiring experience. Equally astounding was his Grammy-nominated cover of Simon & Garfunkel’s “The Sound of Silence,” a rendition I believe must be experienced live to truly appreciate it; the heart-pounding performance combined with energizing instrumentals left me at a loss for words.
Fry also welcomed several guest performers to the stage, and they each brought their unique artistry to supplement the ongoing reverence for music that Fry encapsulates. Musicians Evangeline Barrosse, Vulfpeck, and Victoria Canal delivered standout performances that captivated the audience. Taking the stage individually, one by one, each artist contributed a different flavor, showcasing the diverse range of possibilities within the sphere of acoustic music. Canal, for example, gave an emotional performance of her song “Black Swan.” Canal’s vocals embodied sorrow and grief — a tone congruent with Fry’s other emotionally driven songs that shed light on mental health and navigating identity.
The evening was not only musically rich, but it was also filled with laughter and warmth. Despite the formal setting, Fry brought a casual and intimate energy to the historic hall. He cracked jokes and bantered with audience members, making the chamber feel more like an evening at a cozy local bar than one at a grand concert hall. His ability to take control of the stage while humbly engaging with the audience made it all the easier to sing and clap along to his music.
One highlight of the night was his iconic remake of the Beatles song “Eleanor Rigby,” in which Fry invited the audience to sing with him, encouraging voices of all ranges to join in. Sopranos, altos, tenors, and baritones rose in harmony, echoing the haunting lyrics “Look at all the lonely people.” It was a moment that sent chills down my spine as the connection between audience and performer transformed the hall into a cohesive, living chorus.
Fry closed the night with a moving cover of Louis Armstrong’s “What a Wonderful World,” a fitting reminder of the value of unity and hope in times shadowed by fear and uncertainty. With this final note, Fry reinforced music’s enduring power to connect and heal. His first Los Angeles show was not just entertaining, it was also deeply human. Like many others who walked out of the concert hall brimming with elation and joy, I was left yearning for more.