Rilo Kiley

There is something to be said for a sea of happy, shiny faces waxing ecstatic to songs from a favorite band. Swaying and clapping, singing along to every single word, matching the singers tremolo and even breaths between phrases.

Rilo Kiley headlined at the Greek Theater in Los Angeles this past Wednesday, June 18th, playing to a sizable crowd – stocked with people expecting certain songs played a certain way, and boy did they deliver.

They opened with “Close Call” and, halfway through the song, I had a flashback: it’s 1994 and I’m going through a period where I’m obsessing over every band or musician. I care more about them than any of my friends. I read biographies, I rented documentaries. One of these documentaries was about another Los Angeles band, The Carpenters. This brother and sister combo were fanatical about recreating their songs note for note, as they were on the albums, in their live shows. If a band member felt like improvising, he better get it out during practice, because when Karen and Richard Carpenter got on stage, they got on it to deliver their hits – the only versions of their hits. Quite possibly the only exception to this rule was when Karen would pause between songs to show off her technical prowess on the drums. But even that was choreographed.

After that moment, comparisons between Rilo Kiley and The Carpenters were unavoidable for me. Even what the little purple jumpsuit front-woman, Jenny Lewis, was wearing smacked of the 1970s. Every single player in Rilo Kiley is impeccably polished, even as they move around to attend different instruments for different songs; they’re well-rounded, capable.

In 1972, Richard Carpenter decided to reinvent the power ballad and, arguably, was the father of pop ballads with electric guitar solos (thanks to the ’80s!). Rilo Kiley takes full advantage of this construction with songs like “Dreamworld” and “Arms Outstretched Silver Lining,” repetitive pop chorus receding, leaving guitarist Blake Sennet with a 4/4 beat to noodle over.

As often happens to American children discovered to have talent, Karen and Richard Carpenter were moved to Los Angeles by their parents to be closer to the music industry. One could say they were coached early on the fundamentals of creating something broadly pleasing. Jenny Lewis and Blake Sennet, both former child actors, have long called the public eye “home” and rarely deviate enough – musically – to lose it. Their music has been featured on such hit teen shows as The OC and Dawson’s Creek, and it makes perfect sense.

Much like Karen Carpenter, Jenny Lewis is a truly gifted vocalist and a charming performer, holding the stage with amazing musical proficiency. Fortunately, comparisons between the two women stop there. Where Karen belted out vocals written for her, Jenny crafts her own, imbued with subversive commentary on the day to day, cleverly put. Whereas Karen Carpenter was a tragic figure, suffering from a warped self-image, Jenny Lewis is spunky and strong – citing strong female influences like Loretta Lynn and Lucinda Williams.

The band is very talented with undeniably broad appeal. They’re capable, confident, and do what they do very well. It’s not to everyone’s taste, certainly, but for lighthearted pop, it’s as good as one could hope for – if only, perhaps, a little more heart.

As Rilo Kiley came back on stage after a thunderous encore, starting in on Pictures of Success, I mused on the fact that The Carpenters had their first big headlining show just over the hill at the Hollywood Bowl.