The Cornell Concert Commission kicked off this year’s programming with a free show featuring Atlanta-based indie rock band Lunar Vacation and The Braymores, an alternative band from Chicago, as special guests. Having been familiarized with Lunar Vacation on Spotify a few years ago, I was excited to see some of their best songs like “Daytime,” “Unlucky” and “The Basement” performed live. I rallied a few of my friends, and we made our way over to Statler Auditorium, securing prime seating two rows from the stage. I had modest expectations for the opening act, assuming that the unfamiliar band would perform either mediocre original work or a setlist composed of too many cover songs. Despite my doubts, however, I left at the end of the show eager to explore The Braymores’ Spotify page and re-listen to my favorite songs of the night.
The Braymores formed in 2022, composed of lead vocalist/rhythm guitarist Matt Tilles, lead guitarist Keegan Melaniphy, drummer Russell Oren and bassist Wyatt Prather. Since then, they have released seven singles, an EP entitled Talking to Trees (2023) and their first album, Who You’d Have Been, which dropped on Sept. 6, 2024, exactly one year before the concert. Sporting around 60 thousand monthly listeners, The Braymores have yet to breakout fully in the indie rock scene, but have established themselves within Chicago, frequently showing off their talent live around the city.
Upon taking to the Statler Auditorium stage, The Braymores kicked off their performance with a faster-paced, more rock-infused cover of “Kids” by MGMT. By infusing their own sound into a well-known crowd pleaser, the band brought the audience to its feet while introducing attendees to their indie/alternative rock style. The band followed “Kids” with their debut single “Past Crimes.” In the beginning of the track, Tilles provides quieter vocals that pair beautifully with Melanipy’s light, yet complex guitar riff. Ramping up to the chorus, the band introduced more prominent drumming and heavier guitar riffs that masterfully elevated the song. When performed live, the effect of this buildup was even more powerful; the chorus filled the room and left me entranced by the instrumentation, anxious to hear more of the band’s original work.
Much of the band’s set went on to consist of songs from Who You’d Have Been, beginning with the song which lent its name to the album. “Who You’d Have Been” features an interesting combination of an oaky, almost rock-a-billy guitar riff and a milkier and silkier guitar tone more common in the indie rock scene. The contrasting nature of the two guitar tones mirrors the song’s lyrics, which focus on a failed relationship and the gap between each individual’s wants and personalities. The band’s second most popular song on Spotify, “Where Did My Baby Go,” features a more simple lyrical construction, but the chorus’s irresistibly catchy sound and flawless interaction between guitar, bass and drum parts demonstrate exactly why the track has been streamed so many times.
“Faken” and “Dismay” continued to showcase the wonders of the album. “Faken,” like “Past Crimes,” sees Tilles deliver whispery vocals alongside quiet guitars that grow louder and more prominent as the song continues, reflecting the lyrics in how heartbreak manifests itself both in more quiet, reflective ways and frustrated, loud ways depending on the moment. “Dismay” features a march-style main guitar riff, bassline and drum beat. The lead guitar part’s harder rock tone demonstrates the band’s ability to create unique sounds throughout the album rather than over rely on a single sound. “Scenic Drive” continued to demonstrate the diversity of compositions on the album. The track, which features no drums, allows Tilles’s vocals and a pleasing acoustic guitar part to take the spotlight.
Throughout the show, The Braymores demonstrated themselves to be experienced performers as well as worthy musicians. The band interspersed covers of “Brazil” by Declan McKenna, “Fluorescent Adolescent” by Arctic Monkeys and “Yellow” by Coldplay between their own material, getting the audience involved and singing along with the band. This ensured continuous crowd energy throughout the show even though most people in attendance were likely unfamiliar with the band itself. The band even debuted an unreleased song called “August,” building a sense of connection with the audience and showing that The Braymores aren’t slowing down with their musical output.
Rounding out the show, the band performed “Like the Others,” their most-streamed track, and “Black & White,” their newest (released) single. “Like the Others” features one of the band’s most memorable guitar riffs and a captivating groove that stays refreshing listen after listen. “Black & White” featured a guitar tone and vocals very distinct from those found in tracks from Who You’d Have Been, a good sign that the band will continue to experiment with their sound and put out a refreshing mix of music throughout their future.
Though their work is somewhat reminiscent of some indie/alternative rock bands such as The Backseat Lovers, Wallows and Peach Pit, The Braymores still bring a unique sound and style to the table that does not strike me as too derivative. Judging by their current work, I’m hopeful that The Braymores will continue to grow their catalogue and fanbase into the near future.
Matthew Rentezelas is a sophomore in the College of Arts and Sciences. He can be reached at mmr255@cornell.edu.
