Anyone who knows anything about a decent emcee will tell you that it’s all about breath control. To the dilettante picking up a microphone is about a rapper’s swagger and number of bullet wounds, but anyone who calls themselves a fan of the form will affirm that it’s the way they spit out what they’re saying that marks the difference between a star and an amateur. After all, anyone can get shot or rhyme a few landmarks- the good ones have the rhythm to make it all flow.

But breath control in phrasing doesn’t have to be exclusive to hip-hop; it just happens to be because most traditional singers are focused on other things. Whether it’s injecting the right amount of pathos or reaching a high note, your average guitar driven vocalist is too busy making sure all the words come out right to give them the unique rhythm that is indispensable in hip-hop. There’s plenty of breathing going on, but not necessarily a lot of controlling. Filling the diaphragm is enough hard work for one thirty minute set.

It’s breath control that gives a rail-skinny man from North Dakota the same skill set as Dizzee Rascal or Jay-Z, albeit with a little different expression. Tom Brosseau has been working the folk circuit for years, and the natural instinct is to notice his supernaturally high voice, which sounds like a ghost weeping from the rafters. But that nearly androgynous croon isn’t the only thing interesting about his work. Listen to “I Tune My Guitar to the Hum of a Train” and you’ll get pacing that sounds like the clack of wheels rolling over railroad tracks.

Of course, focusing on that one trait in Mr. Brosseau’s music is a limitation. But it’s a good one to impose- otherwise the music could be overwhelming in its emotion. Listen to Young and Free and you’ll hear words and lyrics that make you feel like you’re dipping your hand into a river. Such rustic analogies are actually appropriate when it comes to Tom- he’s maintained the earnestness of his North Dakota upbringing despite his worldly education touring across the country. It’s something close to gentility (yes, his blog does actually have a story about saving a puppy), but with enough sadness to clearly be called wisdom.

Tom was recently in Philadelphia at World Cafe. This author saw him at Pete’s Candy Store in Brooklyn, the indie venue where vintage t-shirts were the sartorial standard even on the chilly night when Tom played. That night was a test of his skills as an emcee as much as any other. In a room only slightly smaller than the average studio apartment, he stood on top of chairs and climbed from one to another, strumming his guitar and challenging eye contact from anyone who looked on. That night, in the dimly lit room, he was displaying a different kind of breath control that can happen when you listen to his music- the kind of breath control that leaves not him, but his audience, waiting to exhale.

4 Responses to “Breath Control in North Dakota”

1. Chris Says:
   November 29th, 2006 at 12:27 pm

   Great write-up..very vivid language and an interesting perspective. Tom’s music is very relaxing, I dig:wink:

2. Navid Says:
   November 29th, 2006 at 12:32 pm

   I listened to the studio session he did… he sounds like a really genuine guy

3. Phil Says:
   November 29th, 2006 at 1:26 pm

   I showed up late to the show cause I got lost. I was waiting at the corner, and he was like “Hey, there’s a seat right here,” and had me sit in the front row. Pretty considerate guy.

4. Stephen Says:
   December 3rd, 2006 at 2:03 pm

   Awesome writing. “but with enough sadness to clearly be called wisdom”
   I dig the s out of the music too.

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