Tag Archives: Molly Hamilton


Back Home, Widowspeak Play The Bowery Ballroom Tonight

November 8th, 2013

As the Brooklyn-based duo Widowspeak, Molly Hamilton (vocals and guitar) and Robert Earl Thomas (guitar) make their own brand of dreamy pop music. Their second full-length, Almanac (stream it below), arrived this past January. Filled with Hamilton’s haunting vocals, and thanks to it combining “range and focus so expertly,” Paste called “Almanac an early surprise for 2013.” And after touring extensively behind the album, Widowspeak (above, performing “The Dark Age” for Converse Rubber Tracks), plus Pure Bathing Culture and Spires, are back in NYC and ready to rock The Bowery Ballroom tonight.


Widowspeak Celebrate New Album at Mercury Lounge

January 23rd, 2013

Widowspeak – Mercury Lounge – Janauary 22, 2013

It looks like a real winter has arrived in New York City. All the chatter between sets last night at Mercury Lounge was some variation of “Cold enough for ya!?”—and coats and hats were de rigueur even after the room was packed front to back. There are several strategies for dealing with the onset of winter and the bill last night featured a good soundtrack for each of them. You can just decide to bunker down inside and wait it out until spring. And if that’s your tack, Prince Rupert’s Drops would be a good choice. Getting better with every gig, their long, cliff-diving guitar jams were perfect for letting your mind wander completely unaware of how low the mercury had dipped outside.

Or perhaps you prefer to get out of town altogether. In that case, Murals, out of Louisville, Ky., might fit the bill, with their surf-y guitar and soft-spoken vocals, their set was a perfect complement to a lazy day at the beach. Of course, most in the sold-out crowd were just prepared to deal with it head on. And headliner Widowspeak played a set of ideal winter music combining the barren, soft, quiet-snowflakes-falling vocals of Molly Hamilton with a band that rumbles like a storm in February with a “wintry mix” of sound. Like a landscape covered with new snow, the Brooklyn band was all about fresh and new Tuesday night, celebrating the release of their album Almanac earlier in the day and featuring for the first time a fifth member who split time on both electric piano and guitar.

Many of the new songs were played for the first time, and while Hamilton seemed apologetic, they came off as fully formed ready-to-go rockers, the band dialed in nicely for each one. A lot of the material was too new to be known, even for the packed crowd of longtime fans, and so they laid back and took in the new stuff, which had a decisively heavier edge, a lot of the twang from the older stuff swallowed by a band with the confidence and ability to go full throttle. By the end, Widowspeak were operating at full fledged Nor’easter making sure that if winter was going to be around for a while, at least we had the music to help face it head on. —A. Stein


A Loud Night of Rock at Mercury Lounge

June 12th, 2012

2:54/Widowspeak – Mercury Lounge – June 11, 2012

Many of New York City’s best-kept secrets are hidden in plain sight, easily accessible and there for the taking if you only knew. Take Brooklyn’s Widowspeak, a band that seems to play at one club or another every night, unassumingly honing their live show, impressing audiences on a regular basis. Last night they were easily found in their natural habitat onstage on the Lower East Side, this time at Mercury Lounge. When not delivering haunting vocals, lead singer Molly Hamilton shot glances into the audience that were all at once nervous, coy and mysterious, perfectly summing up the sound. As usual, Widowspeak’s incessant playing showed in its live performance. The songs are dark and melancholic, a prairie psychedelic with discomforting guitar solos and an I’ve-gotta-roam rhythm. A brand new song (“two days new”), barely ready for the stage, helped show where the seams are as four distinct parts—vocals, guitar, bass and drums—showed signs of what will soon be, but not quite yet. The set’s centerpiece was the group’s signature cover of “In the Pines,” which, alone, is worth a Monday night out. Every band should own a song the way Widowspeak owns this spooky, twangy, otherworldly version.

Closing out the night, the UK’s 2:54 took the same boy-girl-boy-girl, guitars-drums-bass formula as Widowspeak and made something complementary but certainly altogether different. Their music had parts, songs shifted from one section to another, the gears twisting like the insides of a watch. The sound was punctuated by basslines so heavy you could feel their weight in the crowd. Beneath this blanket of low end, architectural drumming, a dreamy lead guitar with plenty of bite and a lead singer with a sleek style and bright lipstick, was a look evoking a dancing mannequin in an old Robert Palmer video. While the music was loud rock and roll at its core, there was an urge to go even louder, like a hot shower that could get even hotter. The late set gained strength and momentum as 2:54 mostly worked off songs from their self-titled debut. With the band shrouded in a static darkness, the normal bevy of photographers needed to go with the flashes, creating its own light show and adding to the mystery. —A. Stein