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Daley is very conscious of the influences other performers have on his music. At intervals, he shelves all the recordings by a particular artist, not listening any longer when he starts to hear too much Foggleburg in Daley. He explained that he doesn’t want to sound like an affordable version of the bigger stars. Bryan describes his style as eclectic, a blend of what he sees as the best in others but a mix, not a copy, a fusion of classical, jazz and rock.
In his performances, he does about 40 per cent original material interspersed with songs popularized by more famous artists. “I feel better playing my own. I don’t really like copying.” His instrument of choice is the acoustical guitar which means that he has to occasionally break up the soft California sound with a rocker. “As an acoustic musician, I don’t want people to get too sleepy,” he smiled.
Daley is feeling his way into composing. His pieces still sound much like the folk rock written by other performers. The songs are smooth, they bring back places and feelings, but they’Te a litjtle like something you’ve heard before.
“There’s a tale of wind that’s coming,” begins one Daley wrote last year while watching the U. S. Open Golf Tournament.
"I got the worn out working day blues and I need somebody to see me on through. Yes, I do,” goes another that harks back to early James Taylor.
He uses his own experiences for material. A glimpse of heat lightning on a hot summer night started the images rolling for a new number, a song where Bryan may somewhere stick in “flashes of night lightning, a taste for white lightning and a case for you.”
"I’m very good with ideas—that’s why I studied Buddhism,” Daley said. “But I am a musician. That’s how „ I feel.”
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