Dark Songstress Ember Schrag Plays a Revealingly Low-Key Brooklyn House Concert
Carlos, the goodlooking, rangy guy who runs the space housing the Gatehouse concert series in Fort Greene, surveyed the room Friday night. His black eyes shifted warily, separating familiar faces from newcomers. His blasé, taciturn expression muted a spring-loaded, muscularly twitchy presence, clearly on the prowl for fresh meat. More about that later.
Ember Schrag opened the show in a rare all-acoustic duo performance with polymath lead guitarist Bob Bannister. Notwithstanding her DIY esthetic, Schrag is an elegant singer with sophisticated mic technique, and isn’t used to singing without one. So it was interesting to watch her scramble to find a way to project into the space, in the process unleashing an unexpected grit and raw menace that don’t usually find their way into her typically stately, enigmatic vocals. While she’s most recently been mining a richly lyrical, psychedelically-tinged art-rock vein, this setting gave her the chance to air out several tracks from her haunting, low-key, mostly acoustic Great Plains gothic album The Sewing Room, including the title track, a metaphorically-charged battle of angels that ends as an unexpectedly triumphant escape anthem. As the Nebraska-born songwriter told it, there might be more than a little autobiography in there.
Throughout Sutherland, a tensely fingerpicked murder ballad, Schrag’s voice reached for more menace and foreshadowing than her deadpan, Melora Creager-esque delivery on the studio version. By contrast, Virgin in the Shadow of My Shoe – a swaying pop anthem from Schrag’s latest release, a live Folkadelphia session featuring Susan Alcorn on pedal steel – was irresistibly snide and funny. The two guitarists kept a steady stroll going with Banquo’s Book, its ominous series of images and a deliciously understated, bitingly terse, bluesy Bannister solo.
On album, Your Words is a delicate kiss-off anthem; here, Schrag raised the anger factor, but just a little. An older song related an incident involving a collaboration with a free jazz group and an offer of free rent in a space that turned out to have bedbugs; a new one, Speak to Me in Dreams, juxtaposed another trail of nonchalantly murderous imagery with sizzling fretwork from Bannister. Schrag closed with I Ain’t a Prophet, a corruscating remake of a familiar fire-and-brimstone Bible myth – “Got to use a hammer on Jacob’s Ladder,” she calmly intoned.
Now you might think that someone whose songs can be as starkly serious as most of the numbers in this set would bring a similar gravitas to the stage. Not so. In front of an audience, Schrag is a firecracker, bantering with the crowd and sharing insights into her fabulistic, Calvinist imagery. She peppers her songs with all sorts of Old Testament references coupled with an irreverence that at the core is pure oldschool punk rock. And as generous as she is with the keys to her narratives, she also brought a delicious gin/grapefruit punch, and a cake made out of several kinds of flour that everyone was raving about, and some baked chicken.
About two songs before the end of the show, Carlos finally went into action with a flying leap onto the table, poised to make a swipe at the meat. But an audience member in the back calmly lifted the jet-black figure and his furry paws and returned him to his spot on the floor, where the hungry predator regrouped, grudgingly accepted an appreciative pat on the head, and began plotting his next move. Watch this space for upcoming shows by Schrag, with or without furry friends in the house.