Nominated for "Best Cabaret-Male Show" by Manhattan Association of Cabarets and Clubs MAC

2 Time Nominee for "Best Vocal Male" by


​​Remy Block BWW Review:

The man possesses style.
Vernon's voice is a disciplined instrument. His intonation and dynamics were impeccable all evening, and his aura saturated each tune, rendering them all uniquely his own.
Not only is Vernon a skilled vocalist, his sound is lovely and emotive.
Vernon carried it off, oozing Nosferatu chic.
The taut, lean yet rich narration was impressive.
It is exciting to be enveloped into a world that feels simultaneously idiosyncratic and completely genuine.
Vernon creates theater bordering on melodrama, yet projects a vulnerability that remains honest and secure.
He is meticulous and then spontaneously, delightfully imperfect. Vernon is his voice--strange, bright and wonderful.

Ron Forman Cabaret Scenes Review:

David Vernon is a remarkably unique talent whose stage presence is so riveting, it is virtually impossible to take your eyes off of him.
Combine that intense presence with great acting skill and a poignantly beautiful sound, and you get a very special artist.
His autobiographical show at the Metropolitan Room used an extremely relevant song list that brought the audience into the inner workings of David’s soul.
His acting skill made me believe.
I have never heard the “suicide song” “Gloomy Sunday” sung with more emotion and depth of feeling than Vernon brought to it.
What’ll I Do” and “Always,” sung as movingly as I have ever heard them performed.

Alix Cohen – Woman About Town

Though accompanying gestures are distracting, Vernon’s rendition of the song “Nature Boy” is simply lovely, his superbly controlled tenor, hypnotic.
“How Insensitive,” with sad, sighed lyrics and classical, rather than rhythmic piano accompaniment, becomes so much more wounded than that to which we’re accustomed.
Vernon’s voice is sandy with vibrato, enunciation pristine. As they swell and soar, lyrics hovers at the edge of sobbing. The artist can stage-whisper, float high, or become forcefully expansive. Every note is packed with emotion.
Shadowy evil follows with “You Fascinate Me So,” now a tango with a rose in its teeth. The new take is unnerving.
“How Long Has This Been Going On?” is also turned on its head becoming an anguished torch song when Aware phrasing communicates like a monologue.
It’s a pleasure to see an MD/pianist so in sync with a vocalist taking risks. Alex Leonard not only plays with terrific finesse but has translated Vernon’s very different, often difficult intentions to viable scenarios.
A tandem “What’ll I Do?” and “Always” sound as dreamy as they might’ve in the 1920s. “Shall We Dance” is utterly theatrical

I Am David Vernon

B​orn in the Midwest but living on the east coast David Vernon has always followed his own direction. He has created and produced many of his own conceptual concerts and has been given rise to lauded performances at The Algonquin Hotel, Metropolitan Room, Birdland, Don’t Tell Mama, the Laurie Beechman Theater and many other swell spots in New York City. 

Whether performing art songs, showtunes, jazz or the great American songbook David embodies a genre of musical interpretation and casts his spell on a wide diversity of listeners. Called “other worldly” by his critics, David has produced an extensive recording collection and he holds a keen sense of focus and deliberation in his work.

I made the decision to quit my desk job and commit myself fully to the development of The Love Trilogy.
A trilogy which consists of 3 individual yet co-existent projects.
·         1. LOVE ( The Album )
·         2. LOVE ( The Concert )
·         3. BELOVED ( A Musical Theatre piece in 1 Act  )
What many people don’t know is that I have been developing this project for 5 years now. It began with the album. I started the LOVE album with my then music director Albee Barr and during the pre-production Albee was diagnosed with cancer and within weeks of his diagnosis he left the planet.  

The album was shelved until my friend referred me to an engineer who agreed to take over the production. That’s when the new engineer and I discussed a totally different direction for the album and it changed from an easy listening album with well known and obscure love songs  to a more full on pop scale album.
I’d always wanted to record something more innovative with a popular essence and Stefan was just the producer /engineer to realize this desire. The album is first of all orchestrated completely with what is known as virtual instruments.
I was fascinated by this technology and immediately embraced it. I believe in taking full advantage of new technology and pushing it to the max. Many of my colleagues who are what I might call purists when it comes to this subject don’t appreciate virtual instrumentation but the fact of the matter is that we live in a new era and this is what’s new and I am always curious about what’s new.  Many of the songs featured on the album were written well before this technology even existed and those are the most challenging to produce. But what I like most about this album is that it’s a mix of past, present and future. It is definitely a new direction in my recording efforts and I’m still as excited about it as I was from the very beginning.

The Concert was originally intended to promote the album and it does to a degree based on the songs selected for its story line within the concert.  Music Director Alex Leonard was really the driving force behind the development of this point in the trilogy. I met Alex one night singing at a restaurant through my friend Sandy. I have amazing friends who hook me up with just the right people, sometimes I think sometimes others know better  what is best for me than I do. Although I had never heard or seen Alex perform I took an instant liking to him. What I remember most about first meeting him was how dignified and cordial he was. What is the most pleasant surprise of all is that he is that way all of the time. I began making trips across the river to meet with Alex and one day we got into a conversation about a relationship I was involved in during the 80’s and early 90’s. At some point Alex said “that’s your show” and my mental reaction was can I pull something so personal off in a club setting?  The story was already a segment within the Musical Theatre piece Beloved which I’d been writing. That’s when it dawned on me that the concert was to actually become the second point in the trilogy in combination with the album and the play. Metropolitan Room is the most amazing performance space and the Furshpans are a delight to work with.  The concert is fulfilling to me because it allows me to not only perform the songs featured on the album but to also include songs omitted from the albums final song list. What really makes the music blend with the story is the arrangements Alex charted for these selections. The concert is a musical documentary based on a true story but weaved together with many of my favorite compositions. Towards the end of the concert we feature a song titled “My Two True Loves” 
composed by Marc McBarron Kessler.

BELOVED is the third point in the LOVE trilogy. I am writing this story while Marc McBarron Kessler is composing the score. ​

I was aware of MMK's work before I had actually met him. I was impressed enough when I first heard his music online that when we finally wound up in the same room with each other I knew right away that it was him and it made me somewhat anxious to finally meet him.  I was singing at an open mic that my friend Sarah was hosting.  Being curious when she invited me to come and sing and as fate would have it Marc was there to also sing some of his work. Marc had presented his own show sometime before in this same club and so he already knew his way around the set-up. He was talking with another person at my table and so I didn’t find it appropriate to introduce myself then but instead wait until a more appropriate moment. When he got up to sing one of his songs I was mesmerized and when he finished I felt I wanted to sing that song. I affectionately refer to this song as LOL or as we know Lullabies Of Lies. We started to hang out and sing and during that time I told him my stories and he shared his with me too. I felt comfortable in his presence and was inspired. When  Marc had played his first piece for the show , through his psychic gift he had encapsulated the real essence of the story Beloved.  Our collaboration is one of real ease and good communication. I’m always excited when he and I are creating together. While things like this take a while to produce I’m enjoying every step and leap in its progress. St.Marc is without any doubt the composer who consistently demonstrates imaginative soul. Alex Leonard is half of the whole heart in LOVE…The Concert. And Stefen is the visionary for what’s yet to hit the airwaves.

​Recorded Live at Opera Center of America