Two Shows in a Week From One of New York’s Most Individualistic, Entertaining Bands
It’s hard to think of a New York band with a more original, distinctive sound than the Sometime Boys. They can do straight-up funk, or country, or elegant chamber pop or wildly guitar-fueled psychedelia, but they’re more likely to combine all those styles. With her full-throttle, brassy alto voice and sardonic sense of humor, singer/guitarist Sarah Mucho is a charismatic presence in front of the band, but the whole group – lead guitarist Kurt Leege, bassist Pete O’Connell and drummer Jay Cowit – have sizzling chops as well. They’ve got a couple of shows coming up, the first at 9:30 PM on Friday the 19th at Pine Box Rock Shop in Bushwick, then they’re headlining at 10 PM at Cake Shop on an excellent billwith Paula Carino’s similarly lyrical, intensely catchy Regular Einstein opening the night at 8.
This blog most recently caught the Sometime Boys at Freddy’s on a Friday night right around Thanksgiving. They opened on an Americana soul tip with a funky beat, Leege flicking off some warm vintage Memphis licks as the song wound up. The next number’s playful hook brought to mind the Grateful Dead circa 1969; the band hit a more straightforward dance-rock pulse as Mucho’s voice soared to the rafters, Leege taking an all-too-brief, bluesy solo that suddenly veered off in a much darker direction before Mucho came back in to brightened things up. Later in the set, they again brought to mind the Dead, this time at that band’a early 80s peak.
Cowit drove the band’s cover of Sister Rosetta Tharpe’s Strange Things Happening Every Day with a jaunty New Orleans second-line bounce, O’Connell taking a solo over Leege’s ragtime-flavored licks, the violinist from the Philly bluegrass band who opened the show (and were excellent) invited up to add a lively one of her own. From there the band went in a more enigmatically dynamic direction with the title track to their latest album, Riverbed and then a scratchy no wave funk number, Leege building an echoey vortex of reverb that he finally pulled out of with a shriek at the top of the fretboard.
Mucho and Cowit duetted on a droll bluegrass-flavored take of the big crowd favorite Why Can’t We Just Be Enemies and then really got the crowd going with their version of Your Good Girl’s Gonna Go Bad. Not even counting the covers, this band has a lot more material than what’s on their three albums, and they brought back an enigmatically resonant dancefloor vibe with the set’s next song.
The night’s most intense number was also the quietest one. The Great Escape. Cowit built gentle clouds of mist with his cymbals as Mucho pulled back and let her haunting lyrics speak for themselves throughout this elegantly gospel-tinged chronicle of a late-night suicide. One of the closing tunes was an epic take of the Allman Brothers’ Whipping Post that went on for at least ten minutes, Leege finally hitting his distortion pedal for his most volcanically angst-fueled solo of the night. These are just some of the flavors the band might bring to the stage in Bushwick and on their old turf on the Lower East.