Doing Shots with Haley and Hannah
Saturday night at Webster Hall, singer Haley Bowery waited about half an hour into her show before she reached behind the sound monitor and pulled out the gun. Before the song started, she’d lured several people in the crowd to the edge of the stage with the promise of whiskey. She pumped the rifle, then held it steady in her right hand, taking aim at a guy in the front row. As his jaw dropped, she fired at him.
If he’d been as steady on his feet as her aim was – Keith Richards’ right hand has nothing on Haley Bowery’s – he would have gotten a generous mouthful of hooch. It wasn’t bottom shelf, either: whatever she’d filled that big black heavy-duty squirt gun with, it was decent whiskey. As the band stomped behind her, she moved on to the next person, and then the next. A couple of them came back for seconds and she took her time with them: at least a couple of people left the show with a free buzz. But that’s not the only reason why it’s impossible not to like Haley Bowery.
Her songs imagine a CBGB of the mind, but not from the punk rock era. Instead, her glam-infused four-on-the-floor rock has a little bit of Bowie, the Dolls, maybe T-Rex but through the prism of cynical 80s New York powerpop, with all the accoutrements: the leather boots, the torn fishnets, the booze, the defiant pose and maybe other stuff. It’s a lifestyle, and she seems hell-bent on putting across the fact that she’s living it – and maybe building a tribe of fellow troublemakers who also consider themselves born strange (which is the title of the album whose release she was celebrating). Her band the Manimals is tight and unexpectedly diverse: solid Attis Jerrell Clopton on drums, surprisingly eclectic Patrick Deeney on guitar and Joseph Wallace (who also plays in the excellent Wallace on Fire) on bass, with Matthew Pop guesting on keys on a couple of numbers. She didn’t waste time getting to the point: “Fuck the rest of ’em, let’s paaaarty,” she ordered the crowd the end of Halloween, a lurching anthem that with a little youtubing could be the theme for next year’s freshman class and many afterward. Some of her songs turned out to be unexpectedly bittersweet, like 29, a wistful ballad pondering how to stay young when you’re staring down the wrong side of 30. A little later she turned to the bitterness and anger of Blitzed, a kiss-off song whose protagonist “Tried to find my bliss, and I got blitzed”- and then “If you need me, boy that ship has sailed.” And Undertow (the backdrop for the booze and the squirt gun) implored everyone to “Drink your whiskey up for the people who never thought you’d be more than a zero.” Revenge is sweet.
Opening act Hannah vs. the Many took that theme further. With a ferocious, spun-steel wail, charismatic frontwoman/guitarist Hannah Fairchild poured out torrents of double entendres and embittered imagery over catchy melodies that ranged from roaring punk-pop to hauntingly ornate, slower, artsier ballads. Her four-piece band didn’t have a bass player this time out, but that didn’t phase them, lead guitarist Josh Fox raising the songs’ searing ambience with long, echoing, slowly twisting sustained notes drenched in cold reverb. Fairchild projects a warmth and nonchalance in contrast with her songs’ raging angst: she reflected on how nice she felt the audience was, but then she related how when she’d just arrived here from her native Minnesota, people had said the same thing about her. “So I called up my girl friend and told her that, and she just laughed. I’m Minnesota mean!”
But her songs aren’t so mean as they’re just plain anguished: they’re anthems for a new generation of smart, alienated kids. The best one of the entire night, and the quietest one, was Jordan Baker, a torchy, sadly bouncing chamber-pop song that Jarvis Cocker would be proud to have written, and it was there that the audience split up: the front row bobbing their heads in unison, completely lost in Fairchild’s tale of infatuation despite knowing better, while the crowd in back noisily readied themselves for the whiskey. The rest of the show was a lot louder: over scorching punk-noir and stagy, gypsy-tinged dark cabaret, Fairchild savaged poseurs, backstabbers and the slow death of hope in a city full of promises that end up dashed in the crush simply to survive as rents rise and imagination is drowned out in the roar of conspicuous consumption and a cultivated shallowness. “How long before the suburbs come to claim us?” she pondered toward the end of Fox’s Wedding, as the song built from almost a whisper to a wail. A lot of the songs were new, and considerably louder than the haunting, often piano-based tracks on her absolutely brilliant new album All Our Heroes Drank Here: whether she follows that or remains sort of a New York teens counterpart to Pulp, she’s someone to keep an eye on. In a way, Haley Bowery was the perfect segue: there wasn’t any way anybody was going to top Fairchild as far as intensity was concerned, so, fuck the rest of ’em, it was time to party. Hannah vs. the Many are at Spike Hill on July 7 at 11; Haley Bowery’s next gig is a private show (well, sort of – her site lists it as July 17 at 30 Rockefeller Plaza, presumably indoors).