The Phenomenal Handclap Band are from at least three different decades, not in terms of age, but in terms of style. And not just fashion sense; though this would be true, too, each of the eight members seem to have stepped out of a different era of rock ‘n’ roll in how their sound.
In name, the Phenomenal Handclap Band sound like they’re going to be one of those aging-hippie-meets-hipster deals, perhaps belting out carpe diem melodies and running across fields a la Polyphonic Spree. And, although there may be hints of that hippie/hipster thing going on in their self-titled debut album, PHB are also a fusion of funk, R&B, folk, experimental, electronic, new wave and ‘70s psychedelic rock — it’s a lot to fit into a six-song set.
It wasn’t just the mélange of styles that was overwhelming, but the band members themselves. Identifying more strongly as a musical collective than a band, the eight members crowded 9:30 club’s mid-sized stage, heads down and bodies swaying to their own trippy, slow-motion groove.
Unsettled audience members whose eyes perused the stage for a focal point to settle on were met by guitarist Luke Riverside’s solo, his high-pitched distortion ripping through the muddled sound and demanding attention. This sudden break in the tension launched PHB’s first song into a nearly-frantic jam laced with varied guitar sounds ranging from jangly strumming to Ratatat-esque riffs.
Composed largely of dynamic instrumental jams, the band’s set was a showcase of skill, both collectively and individually. Founded by former New York disk jockeys — Daniel Collas and Sean Marquand — who wanted to start making their own music, it’s no surprise that the group has a tendency to push boundaries and blend styles.
Some songs were characterized by intensely stacked vocal harmonies made possible by participation from nearly all members of the band. The eight performers singing into microphones lined up at the edge of the stage were reminiscent of 1970s family-style bands like the Partridge Family — but actually cool.
A new element was introduced to the audience when, three songs into their set, the two women whose previous responsibilities seemed only to be nonchalant tambourine playing took the lead on vocals. Joan Tick’s voice is dark and deep, and her on-stage persona reads pure, cool confidence.
Laura Marin’s raspy voice is playful and fun. Leading the band in “15 to 20,” a song that seemed mostly about counting to 50 in increments of five, Marin took the band’s set in a new direction, proving that musicians don’t always need to be ultra-serious to make good music.
The PHB know how to work the stage. Though their presence was somewhat overwhelming at first, the band’s size added an element of faux-epicness to their performance. Though the U Street venue only holds about 1,200 concert-goers (even then, the place was only about half full), the PHB made it feel like they were filling up an entire stadium.
They also know how to share the stage. Never letting any one member bask in the 9:30 spotlight for too long, their set accentuated the talents of each individual member.
Their closing number, “Born Again” was the highlight of their show, with the dirty groove of the synthesizer playing over Patrick Wood’s drums, which seemed to function more as a beatbox than a drum set. On top of that, vocals flew between band members, culminating in an a capella rendition of the chorus. As if that wasn’t enough, Marquand surprised the audience with an organ solo.
That’s right, an organ solo. And because it’s rude not to live up to their name, there was even some phenomenal handclapping.
Phenomenal Handclap Band’s blending of genre, sound and appearance is so wrong that it’s almost right. Certain spots in their set occasionally seemed a little bit jittery or hesitant, but the band have got the right idea. This is just their first round.
You can reach this staff writer at thescene@theeagleonline.com.
