It takes a really impressive artist to break through our incredible email servers of doom and make it onto this page. After all, with so much old and new music coming out from indie and signed artists around the globe, we have a backlog of stuff we want to write about so long that we don’t get to focus on nearly as much fresh talent as we’d like. The last submission I actually recall writing about was from none other than the lovely Kimbra Johnson, who sent us her first single ‘Settle Down’ as an mp3 almost two years ago now. Given the kind of rings she’s running around the globe at the moment, it got me thinking that our secondary role as scouts as well as curators might be something I should explore more in my spare time. Which is why I started going through our inbox recently and lucked upon Miriam Bryant, a 21-year old English Swede who has a voice that is pretty hard to skip over. It’s almost guaranteed that none of our readership has heard of her, which is precisely why you should all click play at the bottom of the page when you’re done reading this.
Bryant writes ballads. More specifically, she writes dramatic, moody ballads which happen to be a blessing and a curse in a time when we already have Florence, Robyn and perhaps most vitally, Adele. This means that the demand for the kind of music she writes already exists in a big way. but it also means that the market is saturated with the kind of heightened emotion that she deals with, which may become a thorn in her side. Of all the artists namechecked above, Bryant’s range puts her most in line with the latter. Those huge, brassy lower notes and rapid climbs up to the top of the alto register are the exact sweet spot that landed Ms Adkins record in the lap of every single English-speaking person on the planet for Christmas last year. And while she does ‘sound like her’, let it be known that this is not an easy feat. you have to have serious talent to remind people of someone seriously talented. We’re not breaking down doors to find the next Nicole Scherzinger here.
I’ve been into intense, windswept widescreen love songs every since I discovered how well they can correlate with moving pictures on a screen. Silver screen moments are ones that can’t be faked, and I can honestly see Bryant’s tune becoming part of one. It may be a tried and tested formula, but somehow, it’s just more believable. It’s not easy to explain why this arpeggiated keyboard rolling motif combined with that timbre combines to create something more special than the millions of others out there. But somehow, Miriam has done it. There’s a significant ‘oh my god’ factor to every section progression, and if this is only the beginning of her work, she’s certainly someone I’ll be keeping a keen eye on in the future.
Miriam Bryant – ‘Finders Keepers’