Josh McIlvain is on Patrol - P.A.W. Print - Philadelphia Arts Writers

In a scene from the classic Woody Allen film Annie Hall, Diane Keaton sings a beautiful but frozen rendition of "It Had to be You," over a noisy lounge crowd-waiters take orders, patrons converse, dishes are heard breaking in the kitchen, a phone begins to ring. Meanwhile, poor Annie is alone on stage like background radio under a spotlight. This is an all-too-common scenario for solo musicians making their rounds at dive bars and coffee shops. And if it's all the same to singer-songwriter Josh McIlvain, he would prefer to avoid playing casually for people sweetening their lattes on the way out the coffee shop door.

McIlvain's musical mission is to "create an imagined world that will encompass all of the audience's needs." When he takes to the stage, he takes to it as "Sex Cop," the name he recently adopted for his solo music act. A friend first suggested the name to him seven years ago as a song title. "I always liked the name and kept trying to put lyrics to it," he explained, "but it eventually became something I wanted to embody."

He would not reveal what it means to be a "Sex Cop," perhaps because he sees it as an abstraction that he never quite felt comfortable putting to words. For McIlvain, who is also an actor, Sex Cop seems to be an attitude, an alter ego, and one of the many personalities he wishes to explore on stage or in song. For the audience, the persona is an immediate "in," a name that signals that it's time to relax, pay attention, and settle in for an evening of entertainment. After he has sparked his audience's interest, he lets the music speak for itself.

The unique catalog of Sex Cop songs blends rock 'n' roll, country and soul, and is heavily inspired by New Orleans R&B artists from the 1950s, like Percy Mayfield and Art Neville. His singing influences include The Drifters' Clyde McPhatter, Elvis Presley, and Smokey Robinson. His writing style is also old fashioned; its roots can be found in the songwriting of such country greats as Hank Williams and Red Sovine, who sang songs about the trucker lifestyle. But his music also has an edge; he cites Talking Heads and Björk as some of his more contemporary favorites.

According to John Van Zandt, a curator of the Highwire Gallery who books talent with creative energy and enthusiasm, "Josh is a considerate and emotive performer who confronts his audience with constantly changing musical and lyrical content. From bluesy to folksy storytelling songs to pure angst, to quirky perspectives with quirky musical interludes, McIlvain communicates on a personal level with the audience."

His songs discuss everything from the mundane to the mythical, with titles like "Manfish," "When We Live Forever," "The Sarge Drinks Manhattans," and "Avenue of Ex-Girlfriends." McIlvain's reward is that the audience can relate to the song's themes. Storytelling is at the heart of his music.

"He uses his eyes and acting abilities to physically portray elements of his music," said Van Zandt. "If he's making a commentary about a certain type of personality or perspective, you can see him physically becoming that farmer or executive or jilted lover."


McIlvain: Creating a world within a space is a very evangelical idea. photo detail,, Kathy Foresman.

McIlvain easily shifts from sad songs about heartbreak, loss, and confusion to songs that are satirical, humorous, or just plain silly. "There's usually a lot of laughter about the situations he brings up in the songs, contemplative silences as he bares his emotional soul, and those looks of amazement and confusion when he plays an intricate guitar part or stops the song in the middle to discuss another topic from the mind of the character he may be singing from," Van Zandt added.

"I'm not a great guitar player," McIlvain humbly admitted. "I try to find an interesting way to deliver stories, to come up with something in the structure of the song to give listeners something to really latch onto-every song has to have a genuine performance aspect." He also likes to keep things fresh by inviting special guests to join his show-for what he calls "a 'Hee Haw' situation." During his performances, he has been known to warble, howl, screech, or wail. He said he thinks a huge problem for singer-songwriters is that they don't try to be performers.

McIlvain, a dramatic writing graduate of the Tisch School of the Arts at NYU, a short story writer, and a playwright, wants people to be engaged in his stories as they unfold. He began writing music after college, as a member of the New York City-based bands Newark and Hot 'n' Hazy. As a solo performer, he now works out much of his music with his brother, Sam McIlvain, lead guitarist of the New York City band Tryst.

He continues to draw upon material from his days in Newark and Hot 'n' Hazy. Other songs he performs can be found on his album Josh Joshua. Although he has added new material to his repertoire since assuming the guise of Sex Cop, McIlvain makes clear that the persona is not intended to change the audience's interpretation of an individual song, but that it does offer a framework for the music, which includes plenty of innuendo and the exploration of the sexual aspects of rock 'n roll.

At a recent Sex Cop show at the Highwire Gallery, McIlvain sang his song "Lonely Caboose," which is also the name for his independent management and record company. Just before breaking into the song McIlvain remarked, "I think there's a lonely caboose in us all-even in a Sex Cop." The contrast between a Sex Cop-a sleek, sexy name-and a lonely caboose, is fitting for an artist whose songs often fluctuate between invincibility and vulnerability.

McIlvain prefers to play in spaces that have certain theater-like qualities about them, because, unlike noisy bar scenes that are difficult to dominate, such settings obligate him to put on a show for people who are there to pay attention. Regarding McIlvain's past performances at Highwire Gallery, Van Zandt commented that McIlvain has been able to establish a different persona to suit each audience. "The intimacy of the Gallery setting literally puts him closer to the audience's faces," said Van Zandt.

McIlvain performed recently at the Belt Theater in New York City, a converted belt factory featuring church pews for seats and a darkly lit bar in the lobby. "Creating a world within a space is a very evangelical idea," McIlvain pointed out. He then laughed quietly and added, "Of course, the church of Sex Cop is non-denominational." During each show, he wants to see people smiling and laughing. Afterwards, he wants the performance to become a conversation piece.

McIlvain typically begins a Sex Cop performance in formal attire. He has even donned a tuxedo. As the show goes on, he slowly comes undone. The polished look gives way to his impassioned performance, which at times involves strutting, swaying, dancing, the hard strumming of his guitar, sidestepping, and sustaining various body and facial expressions to underscore the drama of an arduous moment. While sweat drips from McIlvain's brow, and his tie loosens and his jacket falls to the floor in a crumpled heap, the slick Sex Cop persona doesn't fall away, but gains an honesty that puts the music first and the gimmick second.

A Sex Cop album, produced by Tim Cohan of MH Records in New York, is slated for release in winter or spring, 2005. Meanwhile, McIlvain has made available a four-song demo titled, Sex Cop. He will return to The Highwire Gallery on Friday, October 8 at 8:30 pm with other dates and venues to be determined. For more information, contact lonelycabooserecords@hotmail.com.

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