Kill Hannah's lead singer and songwriter Mat Devine is not a pop icon. This quiet, unaffected young man has a star's self-consciousness, expressed by the same gentle brown eyes and sweet but seldom grin of his favorite actor, Johnny Depp, but his words are delivered with a sincerity unmatched by any actor playing the role.

The band's most recognizable single, "Kennedy", is clearly written about figures of public idolatry - namely, the influential Massachusetts family, to whom, like many modest people, Devine is drawn by their stately and complicated allure. "They're famous and tragic, and beautiful and elite, and flawed, and everything else."

Devine isn't the assertive public figure his idols are, however, and the band's tour manager, Paul, forewarns that he's uncommunicative. "They're not the most talkative guys," he said, simply. But the few words Devine offers are thoughtful and earnest. It's as if he reaches deep in his soul with each question, weighing its significance to develop an appropriate and qualified response.

"Image is incredibly important, but not as important as the music," Devine offers, appearing as a young Trent Reznor or a much younger, prettier Robert Smith. Similar to his look-alikes, Devine seems delicate and dreamy, but the skinny singer's sensitivity is steeped in realism as well. He is, at times, insightful, offering with good deal of certainty and a slight air of confidence, "If you're talking about creating a lifestyle band for the long haul, you have to realize that they'll always be misfits," he says. "Like Duran Duran, The Cure, Pearl Jam, Kid Rock - none of those bands fit in. I think we're in a comparable situation, but on the one hand, we're versatile enough."

Like their musical forbears, Kill Hannah is apt to be misunderstood. Underneath the band's great, big, guitar-driven pop tunes, Devine's lyrics tell a different story, depicting a distinct edginess beyond the shiny surface. "At the moment, we don't really fit in," he admits, "but I'd love for us to be the generation of the next wave."

Consequently, Devine doesn't particularly seem to care whether the musical masses appreciate it right now or not. "Our music is designed for people who get it, people who recognize how messed up the world is, who feel a little bit strange the way we do," he says, while admitting, "In the process, you may be finding out that kind of theme is a universal one."

So when an "outsider" such as Kill Hannah gets signed by a major label - in this case, Atlantic Records - do those who originally identified with the band feel they've sold out? "Our fans are smart enough to understand the economics of it all," says Devine confidently. "I don't have anything wrong, in theory, with driving for success, or ambition. People our age, without a label, the band would have to break up; they couldn't afford it. I think 'selling out' means changing what you do to please idiots. We would never do that."

For a band who was once "completely unknown…risking humiliation outside after every single show," Kill Hannah now comes across as self-assured, if not still somewhat precautious. They're getting a view of imminent success but without the naïveté of most young bands. They are keenly aware of how the music business works, and know that success isn't just becoming the next Rolling Stones. In fact, there's quite a bit of satisfaction to be had in just being a stepping stone. "Nirvana didn't come out of thin air," reflects Devine. "There were a hundred stepping stones - a hundred different heads or backs they stepped on. Who were they? I don't know, but I'm sure they were there. I'm sure there were some unsung heroes."

Devine addresses today's pop music landscape with slightly more caution, though. "I think the thing now is having a more melodic, more '80s influenced, anthemic direction, and I know that we can be a part of that evolution. It just remains to be seen whether we'll be one of the 'heroes' or one of the 'supporting actors'."

For a band that's been on tour with such diverse acts as Evanescence, Everclear, and Pete Yorn, Kill Hannah has had their share of supporting roles - and unfound comparisons, which can be both a blessing and a curse. "In the short term, it's easier to be compared and it's a benefit," explains Devine, "because the easier it is for you to fit into that preexisting business model."

And while "Kennedy" lit up airwaves last winter, and Devine admits the tune "is our definitive song", they weren't quite prepared for all the attention it got. "It did really well at a handful of stations, but we didn't even have a video for it or anything," he says, "so by most definitions, it wasn't a hit - and definitely not to the degree that we'd hoped for."

But is traditional success in the music industry - selling millions of records, living the life of a rockstar, strangers screaming your name out loud - all it's meant to be? "I want to become a celebrity, [because] it will draw out more people," admits Devine, whose careful demeanor, and slow, purposeful way of surveying a room before entering, make him seem hesitant, almost, in fact, shy. "But the superficiality of it kind of sickens me," he says. Not the usual words of a superstar in the making. But then again, Devine's not looking to be a star - at least not right now.

June 21, 2004
A. Koledin