“Can you believe,” Jenny Lewis Asked: “Is this our third show in 17 years?”
Bearing the same outfit that she had brought to the first two – Dot a mini -dots, white ruffled socks, a sparkling tiara perched at the top of his head – Lewis was on stage on Saturday evening with his group Rilo Kiley at Just Like Heaven Festival in Pasadena.
“It's really incredible to be here with all of you,” she told the crowd of thousands of people spread over the green ground surrounding the Bowl pink. “But above all,” she added, turning to her group comrades, “it's incredible to be here with You all.”
Jenny Lewis plays.
(Eric Thayer / For time)
One of the rock groups of Los Angeles determining of the last quarter of a century, Rilo Kiley formed in 1998 – Lewis and the other singer and composer of the group, Blake Sennett, had been children's actors – then spent the next decade regularly approaching the Hollywood dream machine. However, just as the group was ready to explode, Rilo Kiley separated in the middle of the creative and personal tensions between Lewis and Sennett, who had also been romantically involved. Now, for the first time since 2008, the group – completed by Pierre de Reeder and Jason Boeseel – is again on the road to play shows; His reunion tour was launched last week with concerts in San Luis Obispo and Ojai and should continue in the fall.
The timing is logical, since Lewis in the intermediate years has become something of an older sister figure for a later generation or two of young intelligent musicians who write on all ways in which the world can disappoint a woman in their twenties. (Think of Phoebe Bridgers, think of Haim, think Olivia Rodrigo.)
Here again, nostalgia is rarely necessary to justify itself, as heaven does. An element of the landscape of the southern California festival since 2019, this annual show brings together veterans from the early 2000s to relive memories of an era before streaming and pop music from social media; Other high -level acts on the bill this year included Vampire weekendTV on the radio, Bloc Party, The Drums and Toro y Me.
Ezra Koenig of Vampire Weekend occurs.
(Eric Thayer / For time)
Towards the end of his headliner on Saturday, Vampire Weekend offered what singer Ezra Koenig entitled “A Halute to Indie” – covers to the fight against radio – in a slot machine, in a slot machine, in a slot machine, in the group, “Donce in the dark”. The fact that the “two weeks” of Grizzly Bear now qualifies as a classic was a fact that no one seemed to have to convince.
Indeed, Lewis said that part of what led him to start over Rilo Kiley was the enormous success of a recent reunion tour by postal service, the electro-pop project that she and the death of the cabin for cutie's Ben Gibbard Presented in 2003 and that last year, as was paradise after having sold three nights earlier at the Hollywood Bowl.
However, if all this eagerness to remember made easy choices of people in Pasadena, Rilo Kiley played with more muscle and panache than it was necessary on a set of an hour on Saturday that showed the impressive versatility of the group.
Tunde Adebimpe occurs with TV on the radio.
(Eric Thayer / For time)
“The execution of all things” and “with the outstretched arms” were clear and strimes, while “The Moneymaker” set up a grumpy scorching groove and “Dreamworld” spoke of the brilliant threat of the Mac Fleetwood in the mid -70s. Now, as in the peak of the group, which raised the performance was the competence of Lewis as a storyteller: The timing she found in “I Never”, about a woman betting too much on a relationship, and the perfectly soapy romantic drama of “Does he love you?” in which she plays two of the three parts in a condemned love triangle. For the latter, she caught a video camera and traveled the scene, sending images of her group comrades to the giant screen behind her – not just the star of Rilo Kiley Show, but also her director.
On Spotify, the biggest song in the group is the coldly guaranteed “Silver Lining” of its dark LP, “Under the Blacklight”, and here Lewis delivered it with moving nonchalance. But the real heads know that the real Rilo Kiley should have been -an -hit was the “sneaky portions of 2004 for the foxes” – “the speaking leads to touch / and the touch leads to sex”, goes a key line – that is why the group ended with the song like paradise.
While she was walking outside stage, Lewis kissed the crowd, then jumped towards her microphone, caught a Modelo she had left and took a sip through a straw.
Fans of Saturday's just like Heaven Festival in Pasadena.
(Eric Thayer / For time)
