Tag Archives: Rabbit Fur Coat

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Jenny Lewis Celebrates a Tenth Anniversary in Style

September 15th, 2016

Jenny Lewis – Capitol Theatre – September 14, 2016

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More than a decade ago in San Francisco, I patiently perched in a stairwell awaiting the live debut of Ms. Jenny Lewis’s initial solo effort, Rabbit Fur Coat. Sure I grew up watching Troop Beverly Hills, but what fascinated me was how she seamlessly dipped in and out of formidable bands like Rilo Kiley, Bright Eyes and the Postal Service. Lewis always has been a thoughtful songwriter and it especially showed in her time with Rilo Kiley, however this next step pushed the singer into a career all her own. She and her backup singers, the Watson Twins, were late due to traffic but well worth the wait as they glided down the aisle holding candles to approach the stage—it was an unforgettable show in an intimate 250-seat venue. When word got out that the trio would take out the record for a 10th-anniversary spin, I had to be there. Previously selling out two Beacon Theatre shows last winter, Lewis returned with the twins to play Capitol Theatre last night.

The trio, donning the dresses from the album cover, entered stage right singing in harmony to open with “Run Devil Run,” candles in their hands just as they had years prior. The room was flooded with nostalgia as they played Rabbit Fur Coat in its entirety with a full band. Gems included lap-steel accompaniment on “Happy” and Lewis returning post-wardrobe change to croon the title track in a black embroidered jumpsuit complete with fringe. Although missing the backing vocals of M. Ward and Ben Gibbard, “Handle with Care” fleshed out the classic cover with additional guitar. The petite singer added a heavy dose of electric organ on “Born Secular” to fill the room, but it was her soaring vocals that sent chills to fans’ hearts.

After a brief intermission, Lewis emerged to play largely from her latest album, The Voyager. A gentleman politely asked if it was OK to stand for “Just One of the Guys” and was soon joined by another man. The catalog was broken by a cover of the Shirelles“I Met Him on a Sunday,” performed a cappella by the trio. But the real treat was a deep dive into the Rilo Kiley days for the soul-infused “I Never,” which Lewis dedicated to the Cap’s most frequent artist, Phil Lesh. The oldie was paired amongst her most recent work with New York City band NAF (Nice as Fuck), on “Door.” Dueling guitar solos concluded the evening on the crowd pleasing “She’s Not Me,” and there was no doubt that 10 years later, the storied album holds up. —Sharlene Chiu

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Jenny Lewis and Friends Charm Sold-Out Beacon Theatre

February 5th, 2016

Jenny Lewis – Beacon Theatre – February 4, 2016

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Track-by-track celebrations of iconic albums have a way of turning into respectful museum visits: look, nod, appreciate the graceful aging, shrug. So perhaps the most remarkable thing about Jenny Lewis’s salute to Rabbit Fur Coat at the Beacon Theatre last night is how immediate, how engrossing and how alive and un-nostalgic it felt. The exceptionally charming Lewis was already indie-rock royalty by the time she joined hands with the Watson Twins and M. Ward for Rabbit, but to hear the reunited ensemble—Lewis and the Watsons, with Ward ducking in and out to color and shade certain songs—tackled its 12 selections a decade later suggested even greater layers of depth to a collection of music that was already cavernous.

Rabbit Fur Coat is an album you take your time with, and it’s interesting to note how many critics back in 2006 were respectfully pleased but not gushing in their initial praise. The LP has soul, country and antsy indie-rock shades. It has lovely bluegrass-style harmonies. It sounds pastoral, almost twee, but you listen through that initial reaction and you hear the humor, the melancholy and the haunted aspects. Flow-wise, the show was the same as it’s been all tour: performing Rabbit Fur Coat start to finish, followed by an intermission and then a second set drawing on other Lewis albums, Rilo Kiley material and a stray cover or two. Dressing up the Beacon Theatre beyond its usual majestic charms seems like gilding the lily, but not in this case: warm purples, vibrant, sparkly outfits, rainbow-colored and wave-textured this and that.

From the start, the mood was spiritual. Lewis and the twins walked to the stage, singing “Run Devil Run,” using the Beacon’s natural acoustics, and then proceeded to balance the sometimes-overlapping tones of the church and the barroom, whether in Ward providing spindly guitar on “Happy” (and the audience joining a sing-along during its reprise eight songs later), or the spooked waltz of the title track played with the barest accompaniment, or the country-gallop-’60s-girl-group-psychedelic-folk mélange of “You Are What You Love,” or the now-famous cover of the Traveling Wilburys’ “Handle with Care” that infused more Laurel Canyon soul into the original while keeping its edges rightfully burnt. As ever, Lewis sang lines like “Are we killing time?/ Are we killing each other?” like they couldn’t come from anyone else: sad, philosophical, determined, faintly wry, probably all of those things. The standouts among Lewis and team’s superb second frame included “I Never,” a beloved Rilo Kiley number, and “Red Bull and Hennessy,” a newer tune that’s been rightfully compared to Fleetwood Mac. By the end, it was a choose-your-own-highlight” kind of night—the best kind, with much to consider.
—Chad Berndtson | @cberndtson