Droning Is Not an Option for Voice of the Beehive

SAN JUAN CAPISTRANO — Voice of the Beehive’s sibling leaders Melinda and Tracey Bryn Belland may have been through enough recently to justify mothballing their band, but you’d never have known it during the rejuvenated group’s performance Friday at the Coach House.

Despite the breakup of both women’s romances, a related move back to their native Southern California after living for a decade in England, the departure of three band members and the death of a close friend, the Bellands bubbled with enthusiasm, sang, chatted and danced with buoyancy and determination.

It probably helped that they had plenty of friends and family in the audience. Whatever the cause, these ex-Valley girls fostered a good-time party vibe, frequently clowning around and good-naturedly teasing each other while offering a heady mixture of perky pop songs and more substantial, thought-provoking meditations.

The playful spirit emerged early in the 70-minute set as Melissa, looking coquettish in a leopard-spotted blouse, miniskirt and black boots, noted that something was amiss. After playing the catchy “Beat of Love,” she asked whether anyone had an extra pair of socks. When no one responded, she pleaded: “I’m really serious--these boots are too big.”

No problem. As several fans came to her aid, Melissa grabbed a pair tossed her way, pulled off her boots and put on the stockings. Seemingly more comfortable and flashing a smile, she said “Thank you” before moving on to the next tune, appropriately titled “I Walk the Earth.”

They bypassed several slower-paced selections from the new “Sex and Misery” album, drawing almost equally from each of the band’s three previous ones.

That yielded a predominantly upbeat show sparked by such contagious, sing-along selections as the set opening “Just Like You,” “I Say Nothing,” and “Monsters and Angels.” They also turned in a simply delicious version of the amusing “There’s a Barbarian in the Back of My Car,” which they had dedicated to “Mom and Dad over there in that corner booth.”

The band kept things instrumentally lean, snappy and direct, which proved much more appealing than the highly orchestrated sounds--cello, harp, keyboards, etc.--on their latest studio material. Their recently formed touring band consists of lead guitarist Blake Smith, bassist Will MacGregor and drummer Frank Reina, who provided solid backing and skillfully delivered the stripped-down, live arrangements.

But there’s more to Voice of the Beehive than catchy, harmony-laced power pop. Tucked within layers of sexually suggestive lyrics, bouncy melodies and the Bellands’ sweet-sounding vocals resides an edgy attitude, one that questions, probes and even bites as impressively as it celebrates lust, love and friendship.

For instance, one of their finer works is the new single “Scary Kisses.” The song’s risk-taking protagonist looks for stimulation and adventure on the path to romantic and sexual awakening. Singing with a sense of urgency, the Belland sisters declare: “I kind of like a little trouble every now and then / Someone with the nerve to break new ground.”

Their path outside tradition continued in the defiant “Playing House.” Tracey and Melissa boldly declare their independence from a domesticity that allows no room for individuality and personal growth.

The siblings paint portraits of vulnerability as well, none more disturbing than “I’m Still in Love,” a vividly sad tale of emotional dependence within an abusive relationship.

Bubbly and charming. Introspective and resilient. With these two women in charge, this beehive merits its buzz.

In a brutally loud 45-minutes of punkified hard rock, second-billed Slush showcased the shouting and screaming tendencies of front man Johnne Peters. Previewing pedestrian material from a forthcoming debut album, “North Hollywood,” the quartet rarely downshifted from its full-tilt assault on the senses.

This was a particularly frustrating during “Amoeba,” which unfolded as a charming, slow-paced metaphor for emotional dysfunction. But even this song ultimately succumbed to oversinging, pounding drums, throbbing bass lines and screeching guitar licks. (Pssst, Johnne: a well-placed hush can more effective than a hammer once in a while, you know?)

Five Ton Mary continues to add strong new material to its expanding repertoire of well-crafted, highly melodic ‘60s-influenced pop songs. In its 30-minute set, the Orange County foursome injected subtle traces of country and rockabilly into its sound while debuting three new songs, including the hard-edged “Bring Out the Sandy Doll” and the glowing “Tomorrow’s Just Another Stupid Day,” which was enlivened by on-the-mark harmonies.

Whittier-based opening act Menno served up a musically promising yet scattered stew of funk, rap, rock and soul-tinged R&B.; Although it possesses a solid instrumental base, the four-man band lacks the cohesive thread that would define its musical character and direction.