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.
Written by Jacob Fred Jazz Odyssey lap steel guitarist Chris Combs, the band’s new long-form LP, “Race Riot Suite,” debuted live back in May to blissful reviews from critics. Now the Tulsa act has announced a new single and a 29-date tour, including several stops in the 918 and 405.
The single, “Black Wall Street,” opens with Brian Haas’s always-excellent grand piano tinkering and builds into a full-on zig-zagging lap steel party, backed by an all-star brass lineup recruited to paint a picture of the once-populous Greenwood district, one of the most successful black communities in American history.
Unfortunately, most of Greenwood was destroyed during the 1921 Tulsa Race Riot, an oft-neglected and particularly ugly chapter of our state’s history, which JFJO depicts with awe-inspiring detail and clarity in the “Race Riot Suite.”
You can catch the group in their hometown of Tulsa performing at 11 p.m. July 30 at the FreeTulsa Music Festival; Aug. 13 at Simmer Fest in Tahlequah; or Aug. 26 at The Deli in Norman. They’ll set out for dates in the Pacific Northwest, Northeast and South before returning to Tahlequah on Nov. 18.
Click below to watch the band’s May 20 performance of “Black Wall Street” at the Tulsa Performing Arts Center.