Can Phoenix rockers Fairy Bones campaign their way into the Billboard Hot 100?

Read the full article in the Arizona Republic here.

Can local rockers Fairy Bones disrupt the system?

Or #disruptthesystem, as they put in the post they shared with fans on social media?

They’re releasing a single called “No One Can Suffer Like I Can” on Friday, June 9. This week they launched a campaign urging you and yours, but specifically fans, to pre-order the single because as they explain it in their Facebook post: “It only takes 500 sales in the first week to land on Billboard Heatseekers. Our single is only 99 cents on iTunes…. Help us be the indie band that didn’t need a major label.”

Here’s the thing, though.

Fairy Bones’ new song should be a hit because they’ve never come up with a track that sounded more like it should be a hit. I loved “8 Ball” and “Pink Plastic Cups,” their two previous singles, but those had alternative-radio written all over them (in a good way). This one feels more like that rare breed of rock song that could totally cross over to the pop charts (also in a good way).

Not that they were looking to cross over to the pop charts. But it wouldn’t kill them if it did.

When I mentioned to Chelsey Louise that this one seemed to have more crossover appeal than their previous work and asked if that was something they were going for, she said, “That’s definitely fair and not something we consciously thought when recording it but once it was done I think we all felt like, ‘S—t, we have something different here.’ I was particularly excited about how ‘pop’ it came out, because you know, I dig pop.”

It’s a brilliant arrangement, setting the tone with a cavernous guitar sound and pulling it back to just bass, drums and vocals when the verse kicks in before the unexpected payoff of the detour they take on the chorus hook, which seems to occupy a no man’s land where Damon Albarn and Rihanna know it’s kinda dumb that they have yet to work together.

Fairy Bones
Fairy Bones (Photo: Rachael Smith)
The singer credits producer Bob Hoag with the way that reggae-flavored chorus hook drops in out of nowhere grabs you by the collar, makes you fall in love and sends you on your way with the melody firmly entrenched in your subconscious.

“Musically, this song went through a bazillion forms,” she says. “Bob Hoag was the one who added the organ in the chorus. We always want people to be grooving and the down beat with the organ helps keep that groove rather than silence.”

Lyrically, the single finds her addressing her struggles with depression with a self-effacing sense of humor.

“At this point, I’m trying to transition everyone who likes us into a new mindset slowly — that being sad is okay,” she says. “That suffering is subjective. And that also, it can be funny at the end of the day. It’s personal for me because I have a habit of dissing myself in my head.”

If something terrible is going on in her corner of the world, she says, “I’ll tell myself, ‘Suck it up b—h, there’s so much worse happening in the world.’ But I realized, if I don’t help myself first, I’m cornering myself into being useless to others. I need to save myself before I can save anyone else. I use humor to mask the fact that I’m ‘suffering.’ So do others. Misery loves company and all that. It’s kind of nice when someone else understands that. Just ’cause I post something nihilistic doesn’t mean you need to be worried. I’m still working this all out myself so I don’t want to come off like I have all the answers, or any answers for that matter, but that’s where I’m at in my head right now.”