The Drifters were the first major touring act to draw a truly large audience to the Millwald Theatre last year, and there was no better way to celebrate the holiday season than welcoming them back to Wytheville for Christmas with The Drifters on Saturday, December 20. A nearly sold-out crowd of over 400 patrons—spanning generations—filled the theater for a joyful, 97-minute double-set performance.
Although all the original members of The Drifters have passed, the current quartet continues the legacy of the legendary doo-wop and R&B group that first formed in 1953. The most recent incarnation of the group took shape in January 2023, following the passing of Charlie Thomas, the last surviving member of the Drifters’ 1960s era. Backed by a tight, funky house band—each member hailing from West Virginia—the four vocalists, two tenors and two baritones, delivered polished harmonies and first-class showmanship, complete with the group’s trademark synchronized shuffle.
The first 42-minute set focused heavily on hits from the Ben E. King–fronted era, including “On Broadway,” “Up on the Roof,” and “This Magic Moment.” A spirited cover of Wilson Pickett’s “Mustang Sally” also drew a rousing response from the audience.
Emotion took hold of me during “Save the Last Dance for Me,” a favorite song of my late great-great-aunt Hazel. The feeling deepened when the group moved into Ben E. King’s solo classic “Stand By Me,” a song beloved by my Uncle Mike, who passed away far too young. That number was part of a medley that also paid tribute to Sam Cooke with portions of “Cupid” and “Chain Gang.” This year, the nostalgia hit especially hard as I reflected on my father, who passed away on October 26 and grew up listening to this golden era of R&B—music that dominated the charts before the British Invasion reshaped popular sound.
The second act, lasting 55 minutes, opened with the buoyant “Saturday Night at the Movies,” a deeper cut from the Ben E. King era. Other lesser-known gems followed, including “Dance With Me” and “I Count the Tears,” each proving itself a highlight of the evening. Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher” was another standout, igniting enthusiastic applause from the crowd.
While the show closely mirrored the Drifters’ 2024 appearance, this year’s performance felt extra special thanks to the addition of holiday music. In the first act, the group treated the audience to their signature rendition of Irving Berlin’s “White Christmas,” a version many modern listeners recognize from holiday films such as Home Alone and The Santa Clause. Delivered with the same smooth elegance as the 1953 original recorded by Bill Pinkney and Clyde McPhatter, this was the lone offering from the Drifters’ 1950s era—my favorite period of the group. McPhatter, the original frontman, remains one of my all-time favorite vocalists.
The most festive portion of the evening followed, as the Drifters launched into a soulful, gospel-infused set of Christmas classics, including “Joy to the World,” “The Christmas Song,” “Jingle Bells,” and “Silent Night.” This segued into an a cappella section that invited audience participation on “Rudolph the Red-Nosed Reindeer,” “Jingle Bell Rock,” and “Let It Snow.” A spontaneous audience request for a Temptations-style rendition of “Little Drummer Boy” fell apart when Jerome Jackson couldn’t recall the lyrics, but the moment only added charm to an already delightful Yuletide interlude filled with warmth and good humor.
The energy remained high as lead singer Early Clover invited the audience to whistle along during Otis Redding’s “Sittin’ on the Dock of the Bay.”
“If you can’t whistle, pantomime,” he joked. “It worked for Milli Vanilli, and they won a Grammy.”
The 1959 chart-topper “There Goes My Baby” followed, leading into one of the evening’s biggest crowd-pleasers, “Under the Boardwalk,” which the group later reprised. The final number, a cover of the Isley Brothers’ “Shout,” kept the audience on its feet from start to finish, with the Drifters dancing in full Holy Spirit fashion as they exited the stage.
Even after the vocalists departed, the band continued to groove for several minutes, extending the celebratory mood before the night finally came to a close. And for Wytheville, what a night it was!
My heartfelt thanks go to the entire Millwald Theatre staff—especially Donnie Bales and Mastin Paisley—for their generous invitation and warm accommodation, as well as to my dear friend Jeremy Miller for getting me there.
