On March 23rd I found myself walking down Chrystie Street, entering a hole in the wall known as Dixon Place. The self-proclaimed “laboratory for performance” opened into what seemed like a 1940s Parisian saloon in a silent indie movie.

The stage itself took up about a third of the space and seating took up another third, which gives you a sense of how close the audience could be to the performers; intimate but never intimidating. A setting does not define a performance, but it does set the tone, and who doesn’t love a sepia colored film where you’re close enough to the music that you could fall into it if you really wanted to.

And I did fall into the music, much to my surprise. Painted Betty is compromised of guitarist, vocalist, and songwriter Tim Hall, bassist Andrew Hall, jazz clarinetist and vocalist David Rothenberg, drummer Eric Starr, vocalist Deb Madsen and vocalist Sonia Ryzy-Ryski. All from eclectic backgrounds, this conglomeration of performers avoids the pitfalls that most 4+ musical groups fall into: their vocals don’t compete with the instruments, the notes blend well together, the lyrics are relatable, and the band members interact with each other musically and otherwise.

All the music has dark undertones, with most lyrics regarding lost loves and sick parents. Madsen and Ryzy-Ryski, the lead female vocalists, can’t help but flash sultry smiles your way while they sing about some of the darkest parts of the human experience. If you’re lucky, they might even throw you a wink.

Madsen’s deep, country-oriented alto lures you in, emulating a sound very similar to Kitty, Daisy, and Lewis, another folk band. The earthy qualities of her voice are contrasted nicely with Ryski’s soprano, who usually trills through the Spanish ballads.

Even though their voices work well together it seems there is strange dynamic between the two female vocalists. Madsen, who appears as an absolute sweetheart, is starkly contrasted with Ryzy-Ryski, who performs the role of a seductive temptress. It’s evident in the way Ryzy-Ryski moves her hips at an easygoing pace, as if you’re on her time now and not your own, and in the way she looks from side to side while biting her lip on occasion, like she knows something you don’t. It’s playful but forced, and ultimately off putting because it seems like she’s trying to outshine Madsen. At that point the listener becomes much more engrossed in this strange tension between the women as opposed to the vocal quality of their music.

The tension fades when the two begin singing. They hold relaxed dispositions while singing about some of the grimmest circumstances. By watching how comfortable they are talking about such hard issues, it’s easy to lift yourself out of your blues without completely forgetting how you ended up feeling down in the first place.

Take for example, “Midnight Crazies,” written by Ryski about “those times her husband stays out at the bar too late,” as she claims. The song begins with Ryzy-Ryski singing about how it’s a quarter to midnight and she’s home all alone but the drum and bass keep a steady beat all the while, maintaining an upbeat timbre. After a few minutes Rothenberg kicks in with the soulful clarinet, showing off the bands roots in jazz and blues. The quality of his music and the way he practically jumps around while he’s performing all contribute to the character of the performance: there’s no way to sit through that and not be taken aback by just how much passion went into creating the music. But don’t forget – not only are you grounded in the steady beat and in awe at the passion the band presents, you’re sad too – you’ve got the midnight crazies, after all. The bands ability to make me feel that much emotion with that much ease is powerfully shocking in it’s own right and one of the reasons it’s a band worth checking out.

Their next performance is at The Wherehouse in Newburgh, NY on May 4. Don’t miss your chance to watch them perform live!