Buffalo Heard Tramples Notions Without Restraint

Cerebral. Literate. Musically adventurous.

These are adjectives applied to Grant Lee Buffalo in recent years, a reflection of qualities that have resulted in a solid cult following and some flattering press notices. But they haven’t done much to help the band reach a wider audience.

So it was significant that some of the key moments at the Los Angeles group’s concert Thursday at the Galaxy Theatre in Santa Ana were more primal and direct than elaborate and reflective.

Festive new songs such as “APB,” “Truly Truly” and “My, My, My” revealed a rambunctious and nakedly hormonal side to the group that hasn’t been seen since its 1993 “Fuzzy” album.

Grant Lee Buffalo’s latest “Jubilee” album is a far more spontaneous and lively work than its preceding “Might Joe Moon” or “Copperopolis.” The intricate and conceptual “Copperopolis” album, in particular, was heavily arranged and produced, as if it were made more for quiet contemplation instead of unbridled stress release.

At the Galaxy, frontman and chief songwriter Grant Lee Phillips and drummer Joey Peters seemed to be having a grand time bashing out the rocking new songs. Even “Seconds,” a relatively restrained entry on the “Jubilee” album, conveyed dynamic, untrammeled spirit.

The band’s sense of renewal can be attributed partly to recent changes in its lineup. Personal and artistic differences prompted original bassist Paul Kimble to leave before the making of “Jubilee.” He was replaced on this tour by Bill Bonk. Multi-instrumentalist Phil Parlapiano came aboard to help bolster the band’s live sound. (At this point, neither is considered a permanent band member.)

Parlapiano’s deft keyboard helped propel the rockers. But his contributions were felt most on some of the group’s subdued or more complex arrangements. His piano parts on the ballad “Bethlehem Steel” helped give the song a haunting poignancy. He also strapped on the accordion for several tunes and played a sizzling mandolin solo on a version of “Lone Star Song.”

However, it was vocalist-guitarist Phillips who remains the band’s catalyst and focal point. He sang with a drama and grandeur that could have filled a hall 20 times the size of the 550-seat Galaxy. His voice exploded on the up-tempo numbers. On other songs, he tended to mix the gruff tones of his natural voice with a falsetto, which is capable of coming across as rather sweet or slightly grating.

Overall, the band’s general emphasis on passion rather than polish paid big dividends.