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The music of Crystal Bright and the Silver Hands is not easily pigeon-holed. From gypsy jazz, to klezmer rave-ups, to Danny Elfman-esque gothic soundscapes, the music forges a dark yet whimsical path.
— Eddie Garcia, 88.5 WFDD-NPR (Nov 21, 2014)


Award winning singer/songwriter, ethnomusicologist, composer, multi-instrumentalist, Crystal Bright, has played over 1000 shows from Canada to Austin, and New Orleans to Seattle and Thailand the past 6 years sharing the stage with the likes of Beats Antique, Abney Park, Voltaire, Holy Ghost Tent Revival, The Love Language, Rising Appalachia, Larkin Grimm, Pearl and the Beard, and many more.  Bright performed with the North Carolina Symphony in 2011 on an arrangement of her song "Toy Hammer," and has performed at various festivals around the country (SXSW, Savannah Stopover, FloydFest, DragonCon, Midpoint Music Fest, The Steampunk World's Fair, The International Steampunk Symposium, Shakori Hills, and many others.) She took Runner Up for On the Rise at Floydfest 2013 for a return set in 2014, and was named Best Singer in 2012, Best Songwriter in 2014, and Best Musician in the Triad in 2015 by Greensboro's Yes Weekly.

Bright has an eclectic, haunting but yet whimsical, carnivalesque world folk sound, dubbed "kaleidophrenic cabaret." She plays accordion, musical saw, concertina, piano, Taiko drum, adungu (Ugandan harp), and various others, leaving people captivated with her operatic & soulful vocals and virtuoso command of her exotic instruments.

Her visual collaborative album with DividingMe Photography, "The Absolute Elsewhere" (Nov. 2014), received stellar reviews, and "Muses and Bones" (2012) has received press and glowing reviews in the US & Europe, as well as radio airplay in the US, UK, & Canada, including NPR and BBC appearances.

RIYL: Kate Bush, Dresden Dolls, Beirut, Tom Waits, Siouxsie & the Banshees, Decemberists, Danny Elfman/Tim Burton, Yann Tiersen, folktales, ethnomusicology, musical saws, accordions. 


Wildly eclectic, engaging and creative, the new album from Crystal Bright and the Silver Hands takes inspiration from myriad sources for a rather cinematic listening experience. From the gypsy funeral procession atmosphere of opener “The End” to the Latin-flavored “Bajando La Luna” and the wounded “Torment,” there’s no shortage of twists and turns across the album’s 13 tracks.
— All Music (May 14, 2015)
Polished, breathtaking group with international influences.
— Performer Magazine (Feb 29, 2012)
The music of Crystal Bright and the Silver Hands is the sort that can only begun to be described by listing other styles of music. First, start with old-timey. I could name-drop Gogol Bordello, Jason Webley, The Crow Quill Night Owls, and other carnivalistic freight-train drifters and associated rattletrap ruckus. There’s certainly a horizontal stripe of Burton/Elfman-via-Django Reinhardt-bonkers in there. The band calls their sound “Kaleidophrenic Cabaret,” I call it “a colony of bats drunk on apricot moonshine set loose upon the Stringband Jamboree.
— Ryan Roullard, Presonus Blog (Dec 10, 2014)
It’s like Enya woke up in a vaudevillian nightmare wonderland.
— Chris Haire, Charleston City Paper (Mar 20, 2013)
The music here doesn’t rely on local geography – or, to be more accurate, any one geography. Swirling carnival waltzes and blaring border canciónes inhabit the same folk-lore turf as Bright’s noir-ish forest-friendly narratives, which lean toward topics surrounding the pagan and mystical side of feminine power.
— JG Mellor, Shuffle Magazine (Feb 03, 2012)
Crystal Bright and the Silver Hands toe a fascinating line, making for either an uncommonly dignified circus sideshow or a melodramatic, gorgeous Eastern European street performance. Think Tori Amos with Tom Waits’ sense of humor, or maybe a Tim Burton film with the steampunk quotient maxed.
— Corbie Hill, Independent Weekly (Jul 11, 2012)
Crystal Bright is all about theater and art, and that makes her music slightly less easy to pigeonhole and more esoteric in its nature. Here she is with “Drowned Out,” - a pleasant kind of bonkers.
— Fiona Talkington, BBC Radio 3 (Jun 22, 2012)
Jane Siberry and Danny Elfman record a Gypsy Folk soundtrack to a Slavic noir detective movie starring Tom Waits as the gumshoe and Kate Bush as the dame.
— Midpoint Music Fest (Sep 20, 2014)
Crystal Bright and the Silver Hands supply unpredictable, jazzy exaltations.
— Chris Powers, Paste Magazine
Crystal Bright takes music history and her own impressive technique on various of instruments and creates a dream-like (sometimes nightmarish) world that conjures and contorts the past more than it continues it. It’s got an old-time swing, elements of different strains of European folk, but it also has its own rollicking spectacle, and in the middle of it is the narcotic, dramatic air of Bright’s vocals. Bright renders real emotion, equal parts isolation, disappointment, and budding hope, out of sounds that seem mystical, even otherworldly...
— Matthew Fiander, Pop Matters (Mar 27, 2012)
Hmmm…so this is what it would sound like if Kate Bush were to genetically fuse with Danny Elfman and Dresden Dolls in some strange biological experiment.
— Mark Mansfield, Stereo Subversion




See Past shows HERE