Mary Fahl - Lenses of Contact

The word "diva" is bandied about so often it seems to describe just about any female singer who can belt out a pop tune while wearing a glamorous evening dress. But Mary Fahl is a diva in the best sense of the word. The former lead singer of the October Project is a powerful, emotive vocalist who employs her operatic range and dramatic flair in a way that never seems contrived or hammy.

On June 8, the Hoboken, N.J.-based, Rockland County, N.Y. native brought her coliseum- ready instrument to New York's famously intimate Bottom Line, and old fans and new were blown away by its intensity.

Wearing a simple yet elegant long black dress, her tousled blonde tresses framing her piercing blue eyes and prominent cheekbones, Fahl was a striking presence -- part Debbie Harry cover girl; part Stevie Nicks bohemian. And while her former band was sometimes categorized as new age, progressive, or art-rock because of its classical leanings, the solo Fahl has her feet firmly planted in classic rock, pop, and folk terrain.

Backed by a five-piece band of seasoned rock musicians, Fahl opened with "Raging Child," which is also the first song on "Lenses of Contact," her debut solo EP (Rough Mix Records). The soaring, piano-based power ballad deftly showcased Fahl's gorgeous pipes, which evoked both Judy Collins and Joni Mitchell, but also captured the haunting, ethereal tones of such distinctly British singers as Sandy Denny and Annie Haslem (Renaissance). There were also brooding, gothic textures that brought Kate Bush and her American heir Tori Amos to mind. But Fahl's style is far less girlish and subtle. She has definitely studied at the Grace Slick school of belting.

Fahl performed all four songs from "Lenses," including the infectiously melodic "Paolo," a theatrical torch song that would seem right at home in any Broadway musical. She also pleased her cult-like October Project following with faithful renditions of such favorites as "Bury My Lovely" and "Deep As You Go," then ventured into jazzier territory on a new tune called "Kindness Can Be Cruel." This rollicking, Sarah Vaughn-meets-Laura Nyro number was co-written with Harry Connick lyricist Ramsey McLean and featured the nimble skills of New Orleans keyboardist Larry Sieberth.

Fahl revealed a more experimental side with a hypnotic and seductive interpretation of "Ben Aindi Habibi," a traditional Moorish song from 14th century Spain. Culled from more conventional rock and pop circles, her other covers included Tom Waits' "Strange Weather," Judy Collins' "Since You've Asked," and the Rolling Stones' "As Tears Go By." The latter, her closing encore, was so heartfelt it could have left both Mick Jagger and Marianne Faithfull reaching for their handkerchiefs.

Even at its most emotional, Fahl's voice was strong, resonant, and compelling. It was almost hard to believe that such a petite, fine-boned woman could possess a voice so big. But rest assured that when Mary Fahl is on a stage, she's 10 feet tall.

For tour information go to http://www.maryfahl.com/main.html

Billboard LiveReviews

Find music at Amazon.com!

Women ROCK! Article index >>