Review: Barnaby Bright Shines At Grounds & Sounds Cafe

When a duo fills a space like a group at least twice its size, there's no doubt some seriously skilled musicianship at work. But having a broad, powerful sound that doesn't sacrifice the intimacy of a cafe is a deceptively delicate balance to strike. Managing that trick and a few others, Brooklyn's Barnaby Bright performed an impassioned debut set at July's Grounds & Sounds cafe last Friday.

Comprised of Nathan and Becky Bliss, who are both natives of the Kansas City suburb of Prairie Village, the husband-and-wife pair never failed to impress with their original material. Winners of a number of songwriting accolades and schooled in their crafts (Nathan holds a bachelor's degree in saxophone performance and jazz composition from Berklee College of Music, and Becky earned a bachelor's degree in vocal performance), the duo named themselves for an archaic colloquialism for the summer solstice (June 21, which is also the feast of St. Barnabas).

In performance, the voices blended seamlessly across the entire set, remaining tight even during uptempo songs. Nathan's electrifying guitar work - fast and fiery one moment, slow and meditative the next, and frequently alternating taps between the guitar's fretboard and body to produce a variety of percussive sounds - was anchored by Becky's harmonium, a sort of tabletop accordion with a rich, reedy tone. Also rounding out the sound was an amplified porchboard, tuned low to produce a dense, kick drum-like attack and tapped by Nathan with the tempo.

This versatile approach enlivened the setlist of originals, with one exception being Becky's switch to thumb piano for the plinky, jaunty hook of the whimsical reincarnation tale "If I Came Back As A Song," strummed and primarily sung by Nathan. The song also won third place in the 2007 International Songwriting Competition.

Likewise, both took up guitars for the plaintive "Reverend's Son," in which the titular character falls in love with a prostitute. Being in a small town where no one's business remains secret for long, he is roundly reproached for his choice. But even through some disapproving lyrics (sung from the perspective of his family) and a doomed, minor-key backdrop, Nathan and Becky's sympathy for his plight is always clear.

"I'm interested in subject matter," Nathan said of songwriting. "It's almost like archaeology. I'm discovering it, I'm not writing it."

Having played guitar for 11 years, Nathan plays with a surreal confidence and command of the instrument. Already having a trained background, he said he shunned the idea of being too educated on guitar, instead looking to others like acoustic virtuoso Andy McKee for inspiration. 

"Black Sabbath was actually an influence on me too," he admits, praising Sabbath guitarist Tony Iommi's originality.

Becky, whose mother was an opera singer, grew up interested in musical theatre but soon her listening habits included The Beatles, Patty Griffin, and Simon & Garfunkel. She said songwriting was, at first, a more separate activity, but over time her and Nathan began to share unfinished material with one another.

An EP of the songs, many of which were performed that night, was released this May on Mishara Music, an independent label geared toward singer/songwriters. A two-week tour of Holland is planned for this September, following some domestic dates including the TED Talks Convention at the Nelson Atkins Museum in their hometown of Kansas City on August 18.

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