Power Pyramid doesn’t have much patience for nonsense. That appears to be the takeaway from the Oklahoma City quintet’s last 10 months, which brought The God Drums in September, the Insomnia EP in January and its latest, self-titled effort in July.
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.
Piano-based singer/songwriter is a pretty crowded genre, but Brianna Gaither stands head and shoulders above the competition. Her dynamic mezzosoprano can hit dusky lows and electrifying highs, while her melodic songwriting is hard to forget. Her set at the Buffalo Lounge featured her on piano accompanied only by a cajon, and it was still a riveting performance.
She played through several tunes from her debut album Love is Patient, then treated the audience to a new tune. Most of the songs on Love is Patient are pensive, moody pieces, but the new tune was upbeat, more in the vein of Ingrid Michaelson or Regina Spektor. I enjoyed it immensely, and am looking forward to its recorded version (which can't come soon enough)!
Even though the first few songs of the set were quieter, darker pieces, Gaither and percussionist Kelcy White were consistently smiling. It's fun to be at a set where the band is having fun, and there's no question that Gaither and White were loving the experience. They probably smiled a bunch during the last song too, but I was bouncing about and smiling and having a great time myself; I wasn't paying as much attention to the band. It was an incredibly fun set, and that's rare in singer/songwriter sets, which are often all about the self-expression and self-discovery and stuff. And if Gaither's songs are about that, she's inviting people in for the party, not for the cryfest. Fans of Spektor, Michaelson, and other bouncy pop songs should be intrigued.