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The phenomena of emo and alt.country is creating an upsurge of young, daring musicians who continue to defy musical contexts. Ticklepenny Corner is one of those bands coming into their own. This piano ensemble from the dairylands brings purpose-filled, whimsical americana fusion into a strong, new, musical light.

Ticklepenny's tunes were carefully performed utilizing strong elements of old country, american folk and the occasional trip-hop beat. Reminiscent of early Cowboy Junkies, the tight quartet began the 18-song evening with "Reprise," a midwestern truck ride through a rural landscape. With the delicacy of Alison Kraus and the resonance of a young Margo Timmons, vocalist/violinist Beth Riemer painted the song with a subtle beauty. She was joined by her brother, vocalist/guitarist Noah Riemer, whose own smokey baritone contained a clouded touch of Lennie Cohen. Aaron Zorn (bass) and Bill Strangel (drums) provided the dexterous, steady backbone adding a distinct approachability. What followed was a curious tune titled "Lord, She Won't Have Me," penned and sung by Noah, editorializing the complexities of mating and, therefore, a submission to a higher will. Beth then voiced the band's philosophy with "From My Point of View," a song encouraging the listener not to take Ticklepenny's words for truth but to visit their most trusted work, the Bible.

The band's reverence for mystery interwined with the heartstrings of Beth's violin also brought a worshipful sensibilty to their work. Expressive of this were such songs (both vocalized by Beth's milky alto) as "I Shall Never Doubt," a commitment to the certainty of love, and "Beautiful Contradiction," a gorgeous tune about the Savior. Noah's effort, inspired by a quote highlighting the contrast of how Christians should show their own need for Christ instead of showing others their need, "Motion," spoke of "being a good guy" yet having the "brazen" need for grace. Each harmonious, hearthy dedication and admiration of spiritual authority was becoming and musically refined.

Ticklepenny's clever lyrics hold a drollness and maturity beyond their years. This was evident in their storytelling of such songs including the Willie Nelson-esque ballad of an always a "bride and never a bridesmaid," hometown bad girl; the saying of "The Wrong Kind of Prayers" filled with selfish angst; the needless worries of time for Christmas visits ("See You'), a tilted yet not hobbling, spinless song of romantic afterthoughts ("Nonlovesong"), and a punk-rock dedication to a helpless wedding dancer. Remarkable maturity was found in songs such as "Thaw," not about Hank Williams cold, cold heart but Noah's own; a blue-collar ballad entertaining an inner life with hard work; and another summing up their album, "From the Porch," filled with jazz guitar and about finding treasure and contentment in the ordinary things of life.

It would be difficult to define the Ticklepenny sound--the charming, homespun quartet resounds individuality and ecclectic americana. Quirksome, they generate grimaces and veneration within the listener. Ticklepenny's musical growth will be pleasing to see as they already provide a quick-witted and intelligent musical experience.

Side Note: Opening up for Ticklepenny Corner was up-and-coming Michigan folk artist, Ashley Peacock, who is also a close personal friend of mine. When you smell fava beans and know the guy is in the room, you probably can't write an objective review if his performance. Check him out. He'll be in your area soon, I'm sure.