The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.
And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.
Alison Krauss and Union Station 7:30 p.m. Sunday Civic Center Music Hall 201 N. Walker okcciviccenter.com $49.50-$59.50 297-2264
You’re already familiar with Dan Tyminski whether you realize it or not.
Currently Alison Krauss and Union Station’s resident guitar and mandolin picker, Tyminski lent his stark bluegrass tenor to the singing voice of George Clooney’s character in the Coen brothers’ 2000 film, O Brother, Where Art Thou?
His performance of “Man of
Constant Sorrow” as part of the Soggy Bottom Boys helped the song win a
Grammy, and generate enough sales of the soundtrack to go eight-times
string and vocal talents have supported Krauss and Union Station for 18
years now, and while they’ve played the globe, won a gamut of awards,
and even performed for three consecutive U.S. presidents, a show never
passes without taking a little bit of a toll.
matter where I play or who I play for: I have butterflies for the first
few minutes of every show I do,” he said. “It’s not crippling, but
those couple little butterflies always float around before I settle into
my comfort zone.”
confirmed that same level of nervousness when playing for Presidents
Clinton, Bush, and Obama, but for reasons one wouldn’t expect.
more difficult to play the real small audiences than the large ones,
and those East Room shows [in the White House] always had smaller ones,”
he said. “You tend not to feel the worry when you’re playing for more
Currently riding another massive wave of success from last year’s Grammy-winning Paper Airplane, little
has changed Krauss and Union Station’s approach to the recording
studio, although they’re now spanning their fourth decade of activity.
still meet to discuss which tunes to record, whether original numbers
penned for the band by industry veterans like Elvis Costello and Jackson
Browne, bright up-and-comers like Aoife O’Donovan or old-timey
folk-standard writers like Tim O’Brien.
Tyminski sings the latter’s uptempo bluegrass number “On the Outside Looking In” on Paper Airplane, and said that it was as simple a choice as any they’ve made in all their time as a group.
“That was one of those that was easy,” he said. “We all raised our hand — there was a five-way tie for ‘Yes, let’s do it.’”