Recap: Jenny Lewis at Epiphany Church
Singer-songwriter proves most in her element outside of Rilo Kiley
If nothing else, Jenny Lewis is a charmer. That’s probably the easiest way to describe her music, as a member of Rilo Kiley but especially as a solo artist. Her solo debut, 2006’s Rabbit Fur Coat (released with The Watson Twins) and the soon-to-be-released Acid Tongue are simply charming, rooted as they are in classic Americana and unobtrusive twang. For longtime fans of Rilo Kiley, it’s a little bewildering to see a different style of music suit Lewis so well; she seems most in her element these days on her own. (And considering the mostly tepid response that greeted Rilo Kiley’s underrated 2007 album, Under The Blacklight, that band’s future seems uncertain.)
But Lewis definitely wasn’t on her own Friday night in the auspicious—and stifling—confines of the Epiphany Church in the West Loop. She had a sprawling backup band, including boyfriend Johnathan Rice on guitar, another guitarist, bassist, keyboardist, and drummer. Lewis switched her approach throughout the set, sometimes only singing, but usually either playing guitar or keys in addition to vocals. The band followed suit, sometimes stripping down to bass, drums, and guitar as Lewis proceeded through a set that split the difference between Rabbit Fur Coat and Acid Tongue.
The set kicked off strongly with two tracks from the new one, “Jack Killed Mom” and “Pretty Bird,” before playing “The Charging Sky” from Rabbit Fur Coat. Unsurprisingly, that album’s songs drew the strongest responses, as the new one doesn’t come out until this week. (Though Acid Tongue’s title track, which is available online, drew plenty of cheers when Lewis played it later.)
Lewis’ new material is less twangy than Rabbit Fur Coat and generally falls in line with the smoother sounds currently favored by indie faves like Fleet Foxes. It can be a little underwhelming on record, but picks up some necessary punchiness live. Still, though, as the band gathered around a mic to provide backing vocals to “Acid Tongue,” it was easy to picture the scene happening in Laurel Canyon in the late ’70s. Lewis even introduced her bassist as “Laurel Canyon’s own Jonathan Wilson”—with his long hair and button-up shirt, he looked like a long-lost member of The Eagles. Ditto Rice, the group’s other longhair.
But Lewis isn’t really speeding up the indie scene’s slow descent into “cool” yacht rock; there’s nothing smooth about the triumphant epic track “The Next Messiah” from Acid Tongue, the next-to-last song Lewis played before the encore. Anything after that can only pale in comparison, though “Sing A Song,” which Lewis played, is quieter by design. Regardless, the set would’ve been stronger going out with the choral vocals and bombast of “Messiah.”
And it probably would’ve been better without the acoustic cover of “Love Hurts,” a duet Lewis did with Rice for the encore. They did right by the song, but the general reaction in the crowd was mostly “Really?” “See Fernando” closed the night out with the proper energy, and Lewis—looking as adorable as ever in red overalls that Rice said made her “look like Gallagher”—had once again proven her formidable charms.
