“Can you believe,” Jenny Lewis requested, “this is our third show in 17 years?”
Sporting the identical outfit she’d worn on the first two — polka-dot mini-dress, white ruffle socks, a glittering tiara perched atop her head — Lewis was onstage Saturday night time along with her band Rilo Kiley on the Simply Like Heaven competition in Pasadena.
“It’s truly amazing to be here with you all,” she instructed the gang of hundreds unfold throughout the leafy grounds surrounding the Rose Bowl. “But mostly,” she added, turning to her bandmates, “it’s amazing to be here with you all.”
Jenny Lewis performs.
(Eric Thayer/For The Instances)
One of many defining Los Angeles rock bands of the final quarter-century, Rilo Kiley shaped in 1998 — each Lewis and the group’s different singer and songwriter, Blake Sennett, had been little one actors — then spent the subsequent decade steadily approaching the massive time with intelligent if jaundiced songs about intercourse, dangerous selections and the Hollywood dream machine. But simply because the band was poised to explode, Rilo Kiley break up amid artistic and private tensions between Lewis and Sennett, who’d additionally been romantically concerned. Now, for the primary time since 2008, the group — rounded out by Pierre De Reeder and Jason Boesel — is on the highway enjoying reveals once more; its reunion tour launched final week with gigs in San Luis Obispo and Ojai and is scheduled to run by means of the autumn.
The timing is sensible, on condition that Lewis over the intervening years has turn into one thing of an older-sister determine for a subsequent technology or two of sensible younger musicians writing about all of the methods the world can disappoint a lady in her 20s. (Assume Phoebe Bridgers, suppose Haim, suppose Olivia Rodrigo.)
Then once more, nostalgia is never required to justify itself, as Simply Like Heaven made clear. A fixture of the Southern California competition panorama since 2019, this annual present brings collectively veterans of early-2000s indie rock to relive reminiscences of an period earlier than streaming and social media remade pop music; different acts excessive on the invoice this 12 months included Vampire Weekend, TV on the Radio, Bloc Celebration, the Drums and Toro y Moi.
Ezra Koenig of Vampire Weekend performs.
(Eric Thayer/For The Instances)
Close to the tip of its headlining set on Saturday, Vampire Weekend provided up what frontman Ezra Koenig known as “a salute to indie” — strung-together covers of interval hits by Phoenix, Tame Impala, Seashore Home, Grizzly Bear and TV on the Radio — in a slot the band usually dedicates to viewers requests for oldies like “Don’t Stop Believin’ ” or “Dancing in the Dark.” That Grizzly Bear’s “Two Weeks” now qualifies as a basic was a reality no one appeared to wish convincing.
Certainly, Lewis has mentioned that a part of what led her to reconvene Rilo Kiley was the massive success of a latest reunion tour by the Postal Service, the electro-pop facet undertaking that she and Dying Cab for Cutie’s Ben Gibbard launched in 2003 and which final 12 months headlined Simply Like Heaven after earlier promoting out three nights on the Hollywood Bowl.
But if all that eagerness to reminisce made straightforward pickings of parents in Pasadena, Rilo Kiley performed with extra muscle and panache than it wanted to on Saturday in an hour-long set that showcased the band’s spectacular versatility.
Tunde Adebimpe performs with TV on the Radio.
(Eric Thayer/For The Instances)
“The Execution of All Things” and “With Arms Outstretched” had been crisp and strummy, whereas “The Moneymaker” rode a raunchy soul-rock groove and “Dreamworld” evoked the shiny menace of mid-’70s Fleetwood Mac. Now as throughout the group’s heyday, what elevated the efficiency was Lewis’ talent as a storyteller: the torch-song melancholy she present in “I Never,” a couple of lady betting an excessive amount of on a relationship, and the superbly soapy romantic drama of “Does He Love You?” by which she performs two of the three components in a doomed love triangle. For the latter, she grabbed a video digital camera and roamed the stage, sending footage of her bandmates to the large display screen behind her — not simply the star of the Rilo Kiley present however its director too.
On Spotify, the band’s greatest track is the coolly confident “Silver Lining,” from its darkly humorous ultimate LP, “Under the Blacklight,” and right here Lewis delivered it with a swaggy nonchalance. However the true heads know that Rilo Kiley’s actual ought to’ve-been-a-hit was 2004’s sly but ebullient “Portions for Foxes” — “The talking leads to touching / And the touching leads to sex,” goes one key line — which is why the group completed with the track at Simply Like Heaven.
As she sauntered offstage, Lewis blew a kiss to the gang, then jumped again to her microphone, grabbed a Modelo she’d left behind and took a sip by means of a straw.
Followers at Saturday’s Simply Like Heaven competition in Pasadena.
(Eric Thayer/For The Instances)
