Hannah vs. the Many Battle the Sound at Cake Shop
Hannah vs. the Many played the album release show for their latest one, Ghost Stories, at Cake Shop Thursday night. Frontwoman/guitarist Hannah Fairchild’s songs are lyrically driven, and the vocals were hit-and-miss in the mix all night, beginning with the opening bands and continuing through her band’s ferocious, roughly 40-minute set. So this was a chance to focus on Hannah the tunesmith. She’s just as strong with the tunes as she is with the words and the vocals (too bad there were issues, since this club usually has much better sound than in your typical bodega basement). Guitarist Josh Fox is her not-so-secret weapon, weilding spaghetti western/crime jazz twang against acidic postpunk chords, judicious single-note harmonies and roaring punk riffage. Fairchild is no slouch on guitar herself, wailing and tremolo-picking her Strat with a slasher menace as the drums pummelled and the bassist (yeah – this band has bass now!) played tight, melodic lines.
The opening number, Poor Leander – a lit-rock scorcher from the new album – got a menacingly scampering, chord-chopping psychobilly edge fueled by long drum rolls over bridge and some paint-peeling vocals from Fairchild, whose vocals are even better live than in the studio. The twin slasher guitars on the twin suicide anthem All Eyes on Me led up to a cartwheeling bridge and then a false ending that faked out the crowd. Jordan Baker, Fairchild’s gentlest and arguably most haunting song matched her elegantly apocalyptic lyric to a quiet jangle that Fox finally lit into with some otherworldly swoops before the last chorus kicked in.
There were a couple of new songs, one that built from noir to a punkish scamper, another that worked a skeletal/explosive dynamic;. Fairchild’s song structures don’t follow any kind of typical verse/chorus architecture, and from the looks of things that’s not about to change. Her next song, Muse, galloped along with a scathing, bitter lyric: “No kiss is ever more than sugar sweet/No affection is ever more than river deep.” Then they took the breathlessly sardonic Biography of Cells down to just the cymbals and Fairchild’s guitar for the last verse. The equally searing Lady of the Court – another track from the new album – had a Fox guitar solo in place on the wry 80s synth on the album and was better for it. They wound up with an absolutely bloodcurdling version of the raging noir cabaret anthem The Party Faithful and closed with a sarcastic, punked-out cover of some mallstore pop song. A lot of people in the crowd sang along. but for others, it was a WTF moment. That Hannah vs. the Many’s songs are better known in some circles than, say, Lady Gag, says a lot about the state of the rock music world in 2013.
While Fairchild’s lyrics tend to be on the venomous side, she had a coy repartee going with the crowd and with her band – when her drummer called her out for wearing her underwear on the outside of her fishnets, she didn’t blink. That every guy on the Lower East Side wasn’t packed into Cake Shop to enjoy those visuals pretty much speaks for what’s happened to the neighborhood.
The opening bands were good, too, if not particularly tight. The 9 PM act, Toronto’s Fast Romantics, worked an retro 80s/90s Britrock vibe that evoked both the Smiths and Pulp without being arch or affected. The high point was a decent cover of Pulp’s classic anti-fauxhemian anthem Common People, which is almost 20 years old now but in a lot of ways was the perfect song for the night, considering what part of town the band was playing in. Pep, the 10 PM act, had a trio of women out front singing fetchingly catchy, Spector-ish 60s girl-group pop and oldschool soul.