Brooke Waggoner is hard to describe, which is a wonderful thing. Here’s how the cliches break down:

• She IS: a female singer/songwriter who sits at the piano

• She ISN’T: a female singer/songwriter who sits at the piano and lulls the audience to sleep

• She IS: classically trained

• She ISN’T: stuffy and snobby

• She IS: based in Nashville

• She ISN’T: Country

• She IS: giving away her EP “Fresh Pair Of Eyes” as a free download on her website

• She ISN’T: crazy

Eclectic lyrics, staggering technical skills, infused with an inherent sweetness, this is fabulous music. It’s engaging and warm nature is shared by Brooke herself, who’s openness and approachability is surprising to those reared on rock pomposity and remoteness.

Out on the road for a brief tour before the launch of her new album Heal For The Honey (Sept 9th on her own label Swoon Moon Music), Brooke stopped in Tampa for a show and, luckily for us, a chat. Read Brooke’s thoughts on songwriting, battling “girl at the piano” perceptions, and keytars after the jump:

Keath: So your new album Heal For The Honey is coming out in September, Tell us a little bit about it - is it going to be like your EP?

Brooke: It’s a little reminiscent. it’s ten new songs, a couple things that feel a little bit more poppier but also some ballads and some things in the vein of the singles form the EP. So it’s it’s own thing but it definitely takes a little bit from the EP.

Keath: So this one going to be a proper release with charging people and stuff right?

Brooke: [laughs] yeah.

Keath: What I really like about your songwriting is the risks, how the playing is complex and pushing it, both for the listener and, I’m assuming, you on the stage. The more you get comfortable playing it does it lose anything?

Brooke: Maybe a little bit. I enjoy it because each night there’s still parts that are challenging and keep me on my toes. I was conscious when first writing it to have something that would, for me, push it every night so it wouldn’t get too stale. There are parts that do, I think that’s inevitable, but it’s still fun every night, get excited, keep it fresh.

Keath: So when you’re writing do you put down stuff you can just barely play in anticipation that it will get easier?

Brooke: There’s definitely little spots that if you aren’t paying attention you can lose control. It’s fun for me to delve into it because I’m pushing it when writing so it remains that way throughout the performance.

Keath: After growing up with the classical training, do you still practice those pieces regularly?

Brooke: Definitely not as regular as I used to. I don’t have deadlines anymore, no pieces to perform, but it is fun when I’m home to pull out the old books and brush up on my chops. It’s not regular but I like to do it when I can.

Keath: Do you ever find that when you go on stage, and people have a set concept of the female singer/songwriter, which you are outside of in a very good way, that you’re battling this image of what they expect you to be?

Brooke: I’m not quite as aware of it as I used to be. When I started, it was definitely a factor in psyching up for a show, knowing that was going to be the perception. I think it was good for me, even from a writing perspective, knowing I needed to push what was being expected and trying to prove that there was more going on. Now I think I’m aware of it but it’s not hindering.

Keath: You also have a body of work now you can stand on. And more people know who you are and your songs now.

Brooke: And having other players helps, that automatically gives the look that there’s more going on than some girl reading her diary at the piano.

Keath: So the piano - not the most portable instrument [Brooke laughs] …

Brooke: Yeah, it’s a bit of a challenge, especially before having a band when I didn’t have anyone to go out with me. I’d have to show up at the club early and talk to the sound guy for help [laughs]. Luckily for me, the keyboard is not too difficult - I don’t have to deal with the tuning, just plug in and play. But it’s definitely more awkward to travel with.

Keath: You could always go on stage with a Keytar

Brooke: I’ve thought about that [laughs]! I don’t know if I could pull it off!

Keath: You could do a medley of 80’s hits!

Brooke: Ooo - I love old 80s!

Keath: It’s fascinating to me how bands that come from classical training always show it differently. In your case, you blend in the complexity of the songwriting, and the strings, and the arrangements. Then there are bands like Bond, who play classical pieces and sex it up, come out in skimpy outfits. Do people like you look at them and wonder “what are they doing?”

Brooke: It’s funny but I try not to get too far into the visual image. I know it’s part of it but I want it to be something that stands on its own rather than using being a female as the reason it’s there. I’d kinda respect it more [laughs].

Photo: Heidi Ross

Keath: I noticed all your press photos you’re hiding behind things, lights behind you. I’m thinking “Ah, she’s playing a game here!”

Brooke: [Laughs] Yeah!

Keath: One thing that really hit me is how strong the concept of giving is with you and your music. Not just in terms of giving the EP away for free but how you write “If you have a gift, you should give it” and “Sharing is precious.” You’ve wrote that when you’re writing you feel like your 9 year old self. The idea of giving is so open to a child, which is something we tend to lose as adults when it becomes more scheming and strategic. When you sit down is that central to everything you do?

Brooke: Yeah. It’s taken some time to get more comfortable doing live shows and sharing in that way because I’ve always been more on the reserved side. I’ve always wanted to share but didn’t really know how to go about doing it. It’s something we think about every night before we go on stage, which helps because it takes pressure off, so you’re not just thinking about being entertaining but to view it more as “let’s give to each other,” and when you give to the crowd, they give back.

Keath: Does it influence your songwriting at all?

Brooke: I think so. Some of the stuff on the newer album is more sharing experiences. Every night you don’t know who’s at your show and what they’re going through so I can’t get too universal. I feel like it has to be a bit personal otherwise you lose some of the message, but it’s something I’m very conscious of when I’m writing.

Keath: So when you write do you think at all about how it’ll hit the audience or is it purely personal?

Brooke: I try to hang on to that mentality of just something that I believe in, that resonated with me, that’s going on in my life, but at the same time being aware of not wasting my crowd’s time and not being too self focused about it, which is a very delicate balance. You try not to worry about what people are going to think but it definitely becomes part of the process . That’s where I’m at now, figuring out how to hold on to that core of my writing with building things.

Keath: Do you feel people have expectations now? There are people coming to concerts to specifically hear you.

Brooke: I felt it a little bit in recording the full length. The EP was special because it was my first project and I didn’t know a soul - it was really just “here’s what it is” with no expectations. At the same time, I enjoy that bit of anticipation behind it. There are definitely fears of not wanting to disappoint but also realizing the reality of the situation, that you’re not larger than life [laughs], keeping it small for yourself.

Keath: You have a particular style of writing - any ideas about doing an album wide theme?

Brooke: There’s, for the most part, a running theme on the new album. It’s a hopeful record, about healing, but I didn’t go into it with a theme. There were songs I’d written over a year ago and pieced together with new material. I like the idea of a concept album though [laughs].

Keath: Do one album length song!

Brooke: That’s cool - it’d be a challenge [laughs]! Yeah!

Check out some tracks off Brooke’s debut EP: