Baltimore’s Ponytail talks sugar, Halloween costumes and vocal technique

As Featured in NY Press

Started as a class project while studying at the Maryland Institute for Contemporary Art, Baltimore quartet Ponytail has quickly gathered a devoted following and media praise for their unique and energetic rock, sounding something like a hyperactive Don Caballero fronted by a scat-singing Ari Up. In front of a feeding-frenzy of guitar interplay and bursting drums, tiny lead singer Molly Siegel stands tall by bringing an extra intensity to her live performance.

In the live setting is where they shine brightest. At a sold-out performance at Brooklyn’s Bell House earlier this year, with Molly decked out in a Ray Lewis jersey and eye black, I witnessed first hand just how strong their performances can be. From start to finish, Ponytail exploded with a jolt of electricity that surged through the entire audience, resulting in one huge party.

On Saturday, Ponytail returns to Brooklyn for a headline gig at Music Hall of Williamsburg, where the band is sure to continue building their ongoing reputation as one of the most exciting young bands in music.

Vocalist Molly Seigel and drummer Jeremy Hyman took the time to answer a few questions.

New York Press: Molly, how did you begin singing in this scat-like non-lyrical style? And are you ever tempted to sing in a more conventional manner?

Molly Siegel: When we started I mentioned I might be interested in singing but I was pretty nervous. Dustin took me aside and suggested we meet alone and jam. We did and I started doing some crazy vocalizing—kind of operatic—and we both thought it could work. I started doing it at practice. It took me awhile to get comfortable for sure. I always knew I didn’t like what a lot of vocalists were doing and wanted to do something less traditional. It also just fit the music to me. I do want to do more traditional singing and I feel like I am already doing more on Ice Cream Spiritual.

Ponytail has quickly become known for the energy of the live performances. What is the biggest challenge in capturing that energy in the studio?

MS: I think the studio by definition is a more sterile environment and just knowing you can do it again puts you in a calmer and more critical space. I mean, just not having an audience to play off of is huge too. We tried to do as much of the recording as possible live playing together in the studio. I had to be in an isobooth though which was weird but kind of amazing. It was a really reflective and meditative space, which felt really different than being in front of people. It wasn’t reflective because of them it was because I was actually alone.

Jeremy Hyman: The last record was recorded live for the most part. I was set up in a big room with two smaller adjoining rooms in one of those rooms were Dustin and Ken’s amps, they were in my room with their cables snaked under the door, so we could look at each other. Molly’s room had a glass door but we kept it open so she could here the drums a bit more naturally. That along with J. Robbins pretty much made it pretty easy.

You’ve played a great many shows in New York over the last few years, which has been the most memorable, and why?

MS: Hmmmm hard one. I think our first show, at the Cakeshop, is really memorable because it was the first—we were all pretty nervous. The Halloween show at Danbro Studios was really memorable too, I mean even if I hadn’t have played and I had dressed up as the Kool-Aid Man anyway, it would be pretty memorable for me.

JH: Halloween at Danbro Studios was a big one for me—Molly was the Kool-Aid Man, I was George Washington, Dustin was a soccer ball and Ken was Jerry Seinfeld. We made this big wall out of paper and set it up at the front of the stage before we played, and a minute into the first song Molly busted through. It was our blockbuster moment.

Are you naturally as energetic people in everyday life as you are when performing?

MS: Yeah, but we gotta save our energies ya know? Tour sluggin’.

JH: Dustin once said something like, ‘If people acted the way they do on stage in real life that would be fucked up.’ We are all positive people, but there isn’t sweat bursting out of my face every second, or Molly just spazzing down the street. That would be really funny though.

What do you do in order to prepare to play a concert? Lots of sugar? And which band member is the first to wear down?

MS: Oh man I actually used to eat sugar on stage back when I went more crazy. I play Tony Hawk and smoke tons of weed. . . No not really. I just do vocal warm ups and stretch and boring stuff like that. We all just mill around drinking beer or caffeine.

JH: I like to stretch and maybe have a little coffee in the hour before we play, but I think most of the getting psyched happens mentally. I probably get worn down pretty fast too.

Who are the bands who have been most inspiring to your music approach both live and on record?

MS: For me I have to say the Pixies first because I actually thought about their vocals a bunch while recording. I know the guys would say Lightning Bolt, The Who and The Boredoms. Also The Slits, big time.

JH: Talking Heads, Metallica, Devo, Beach Boys, the Pixies, Can, Donna Summers, Fleetwood Mac, Squarepusher.

What’s your favorite “on the road” meal?

MS: In the U.S. it’s breakfast. In Europe, everything except breakfast.

JH: We really love food. I try to eat healthy but I can’t resist a big Mexican-style breakfast.

What can fans expect next from Ponytail?

MS: Dark slide all the way. . .

JH: I have no idea!