Photos by Bobbi Rich
Headlining coast-to-coast shows with her Joy’All Ball, joining the Beck and Phoenix Summer Odyssey tour, and in performances from Madison Square Garden to The Hollywood Bowl as a member of The Postal Service on their historic 20th anniversary tour with Death Cab for Cutie: With the release of her fifth solo record, Joy’All, Jenny Lewis is undeniably high-profile.
From a show business family, Lewis successfully survived her extensive childhood acting career to first emerge musically with Rilo Kiley, a band whose pensive songs became touchstones for a coming-of-age generation in the new millennium. Her solo debut Rabbit Fur Coat (with The Watson Twins) cast her as a sympathetic chanteuse cloaked in vintage fashion, imbued with quirky, approachable cool.
As the title might indicate, the Blue Note/Capitol release, Joy’All, helmed by Nashville producer Dave Cobb, is charmingly upbeat, in contrast to the paradoxical asides, existential truths, and new chapters of hard-won wisdom that are revealed within.
Music Connection: Greetings, Jenny. It certainly seems as if there is a huge upswing in your media visibility at this moment.
Jenny Lewis: I think it’s just all happening at once. I’ve been in The Postal Service for 20 plus years. I’ve been doing my own music since 2006, and then I’ve been in a bunch of side projects. So, I’m always doing a couple of things at once, but the culmination of this 20-year anniversary tour with my album release so close by is definitely a lot. I hope people aren’t going to get sick of me—because I’m sick of myself!
MC: When do you sleep?
JL: I sleep on a tour bus in the fetal position, with earplugs, a sleeping mask, and a night guard. It’s very cute.
MC: You are featured on a new segment of the television show, Austin City Limits. It is so interesting how the songs from the latest record translate in a live context. “Love Feel,” for example, is a barnburner.
JL: Austin City Limits is so cool, because you get to do your full show, 70 minutes, or whatever you’re playing on the road, and then you get to pick the songs for the edited segment. But they make you pick the songs as soon as you walk off of the stage. So, you’ve just done this incredible thing with multiple cameras and a live audience, and then they say, “Okay—pick the songs now.” So, in keeping with the album cycle, obviously the new ones are the most exciting, but that was my third performance on ACL, so I had to remember what I had played in 2014, and with Rilo Kiley. So, it’s kind of a stressful situation.
MC: You write by yourself, correct?
JL: I do. I have, in my career, also written with my boyfriends, who I have happened to be in bands with. My co-writing has been pretty much limited to within these relationships. I never have done co-writes with any other writers in Nashville, or artists. For me, the most important thing has been finding my autonomy as an artist in the world, and honing in on my true voice. On this record, I really wanted it to be conversational. And going into the studio with Dave Cobb, talking about what we were going to make, I made it very clear to him that I wanted the vocals and the stories to be very present, as if we are having a conversation throughout the record.
MC: Joy’All is so mellifluous, so when lyrics come in that are edgier, deeper, and darker, it’s an interesting contrast. There is a lot of air in the sound of the record, enhancing the vocal clarity.
JL: It’s very sparse. We cut it live on the floor at RCA Studio A in Nashville. It is just incredible to be in that building, and we cut it to tape. Dave is a big fan of miking the drums Beatles’ style, and it was a very small band. After we cut it live, Dave wanted me to play all of the keys, and all of the other additional parts. So, he would hum something, and I would play it on the piano, or the Mellotron, which we used quite a bit.
I think he wanted to keep it true to the demos that I had cut at home in Nashville on my iPhone, because I don’t have a computer, so I do everything in Garage Band. And then when we mixed the record I thought, “This is a Nashville record, I’d love to have some pedal steel, and some extra bits, frequency-wise.” So, we had Greg Leisz play pedal steel on a handful of songs, and then added Jon Brion, who shares a space with Greg Koller who mixed the record. I got to be in the studio with Jon as he was listening to the songs and finding those moments, like on “Apples & Oranges,” it’s a B-bender guitar.
MC: “Apples & Oranges” reminds us of Tommy James and the Shondells.
JL: Oh wow, you picked up on that! We had a “Crimson and Clover” tremolo on pretty much the entire track. Initially, we went overboard, but it’s in there. So you are feeling that tremolo, but it’s more in the mix now. I’m a big Nuggets (historic ‘60s garage bands) fan. I love all that. I would love to make a record one day that is as rough sounding as some of those recordings.
MC: You are certainly candid in sharing what seem to be autobiographical elements in your songs.
JL: I am creating a story. There is a twist in Rilo Kiley’s “Does He Love You.” That’s not a true story, but there are elements within the story that ring true. That song was inspired by “Escape (The Piña Colada Song)” by Rupert Holmes. I wanted to write something with a twist in the last verse. Real life is interesting. I have had such an interesting 47 years on the planet: growing up in a musical family in Hollywood, in the Valley, a ton of family stuff went on, so it’s always been right there for me to channel and write about. I’m just trying to get it down on the page, because it keeps happening. It’s wild stuff!
MC: Having grown up in a show business family, one of the lessons you probably learned early was it is not all glamor and glitz.
JL: In my family we were working class musicians, three generations of vaudeville performers, dancers, musicians; Las Vegas and Alaska lounge performers. My dad was in prison for a couple of years. He taught guitar to some of the guys up there. Music is the through-line in good times, prosperous times, and in tragic times. It’s always the music that has kept us together, and luckily I am a songwriter—the first songwriter in my family. So, I’ve been able to carve out a little spot for myself, because I am creating the material. But I come from covers, because my whole family would do them. And they were so good. But they didn’t write for some reason. That’s what differentiates me from the rest of my crew.
MC: The process of writing the songs for Joy’All came from an online songwriting workshop. Tell us about it.
JL: Part of the record was written during a songwriting workshop that Beck put together in 2021 during the pandemic, while we were still at home. I had about half of the songs for the record already written. The workshop included a very eclectic and awesome group of people. Adam Green (Moldy Peaches), Sean Lennon, and Devendra Banhart who was there in the beginning. We would have prompts: write a song with 1-4-5 changes; write a song of all clichés—which is “Love Feel.” The prompts would come, and we would write and record and send the song to the group a day at a time. It’s not something that I had ever done before. I write from this magical channeling zone. You don’t know where it comes from, and then a year later you are like, “Oh, that’s what that song is about.” Writing with prompts, you will never run out of things to write about.
MC: Songwriters will talk about sometimes channeling lyrics and melodies that seem pre-existent.
JL: There are different ways to it. Some people sit down every day to write. I imagine Ben Gibbard (Death Cab for Cutie, The Postal Service) is very regimented with his schedule in writing. I’m writing every day, but it’s a little more freeform; not sitting down, but I’m out in the world where something will occur to me, and I’ll grab my voice notes, and go back home and figure it out on piano or guitar.
MC: Do these fragments then become the centers of songs?
JL: For the most part, a feeling or an idea, or I will be jamming in my music room. I have this drum machine that J.J. Cale used on his records, so I might hit that, and I’ll have my guitar or bass, pick a key, and then something will come out of that. I will typically carve it into existence over a period of time. But sometimes songs arrive fully formed like “Just One of the Guys,” from The Voyager. That one just arrived, and I don’t know how it happened. Then the homework comes. I am always editing up until I record the song. And I’ll record it on my phone and work on the lyrics as I’m overdubbing drums, bass, and keys. I will do everything, and the lyrics come out of the production, as I’m figuring it out. Once I am going in the studio I will continue to edit the lyrics until the day of— moment of, occasionally.
MC: We think of the meaning of words versus the sound of words. We like the use of the word “ruminate,” in the line from “A Puppy and a Truck” that says “…Time to ruminate/What the fuck was that?”
JL: (Laughs) If there is a word for the pandemic, it would probably be “ruminate.” I spent March to October 2020 at my house in California, until I took a flight to Nashville that fall. I took it very seriously, and in some ways it was very good for me. I was totally alone. I had nothing on the books for the first time since I was a kid. When you are a performer, there is always this underlying anxiety. If you have a show coming up, it’s just part of the gig. So, all of that went away. For the first time in my life, I felt totally free. Obviously, I was scared, and experiencing everything everybody else was, but I felt off the hook.
MC: For some, it was a good excuse to grow a beard. I bet you didn’t.
JL: I didn’t grow a beard, but I grew two marijuana plants that were, like, six feet tall. I grew them legally! They were beautiful. I did it totally on my own. Grew, trimmed, cured, jarred…it was absolutely incredible.
MC: And you acquired a dog, Bobby Rhubarb, immortalized in your song “A Puppy and a Truck.”
JL: I was never able to have a dog before. I’ve been on the road for 26 years, out there playing music, so my real life has definitely taken a back seat. Having a couple of years at home and being able to take care of an animal like that has changed me in such an amazing way. And I’ve become a bit of a stage mom, as is the family tradition. So Bobby Rhubarb has an Instagram account, and when we go out in the world some people say, “Oh look! It’s Bobby Rhubarb!”
MC: The song “A Puppy and a Truck” is so likeable.
JL: Thank you. I was very dear friends with Jimmy Buffett and his family. I was so lucky to be able to spend time with them, and learn how to be off the road. Jimmy had two dogs, they were with him everywhere, and there was this joy for life. And if you are hanging out with the Buffetts, you are getting in the water, even if you don’t want to. I’m not a beachy or boaty person, but they were like, “Get in the water Lewis,” and the dogs were there. Jimmy inspired “A Puppy and a Truck”. We miss him so much.
MC: You reference the late Nashville artist from the early ‘60s, Skeeter Davis, as an influence on Joy’All. She is an artist who is sometimes underestimated.
JL: We know her songs, but we don’t know it’s her singing them. What a great songwriter. I made the record and I was doing the album cover photo shoot at my house in Nashville with my friend Momma Hotdog—Bobbi Rich—and we went into this vintage store to look for something for me to wear. On the wall of this place called Black Shag Vintage was a green and white striped suit. We pulled it down, and it said it had belonged to Skeeter Davis. The reference for the album cover was a classic Skeeter Davis photo, and I’m wearing her costume on the cover of Joy’All. There are these signs from the universe that you’re on the right path. If you pay attention, they are there.
MC: You toured with Harry Styles—what an interesting pairing.
JL: It was the first show out of the pandemic that I did in the fall of 2021. I was terrified. I was vaccinated, but I am asthmatic. There were a lot of emotions. Harry picked me to open the tour—it wasn’t a business thing. It was everyone’s first shows back. The crowds were so loving, and so open, and beautiful, and sparkly with feather boas—a beautiful way to come back to playing music and a massive undertaking. I had never done a tour this big, but it felt intimate because we were in our bubbles. There was no press, no one backstage, and we didn’t eat in restaurants. So it was like the biggest indie tour that ever existed. It felt DIY, although it was massive.
MC: A question based on your lyrics from the title song, “Joy’All.” Do we all get a little bit wiser every day?
JL: I think we do. That’s the paradox of being a human being—we are getting wiser but our bodies are deteriorating. You come into the world so innocent, but the older you get, you learn a little more. Hopefully, you learn to be more compassionate—especially to be more compassionate with yourself, which is so important.
MC: Your astrological sign is Capricorn. Do you like to plan?
JL: I’m a Capricorn, so I’m climbing the mountain steadily, slowly but surely. As a kid, I used to make these handmade calendars. I couldn’t wait until the end of the school year. I am a planner by nature, but I’ve been doing a meditation practice since the first of the year, so I am trying to be more in the moment. With my schedule, I am forced to plan about three days in advance. I’m trying to enjoy the day, the moment, and the hour.
Onstage, especially doing this tour with The Postal Service, we played three sold out shows at the Hollywood Bowl. And there were a couple of moments where I just had to say, “Take all this in right now. Take a breath and look out, because this is as wonderful as it gets. This may not happen again. Be present in the moment. Be grateful.” I looked out, and I wasn’t nervous at all. 18,000 people out there, and I felt so connected to L.A., so connected to 20 years of this record, and my other records. It’s important to be in the moment, and appreciate these beautiful times.
JL: I think we do. That’s the paradox of being a human being—we are getting wiser but our bodies are deteriorating. You come into the world so innocent, but the older you get, you learn a little more. Hopefully, you learn to be more compassionate—especially to be more compassionate with yourself, which is so important.
MC: Your astrological sign is Capricorn. Do you like to plan?
JL: I’m a Capricorn, so I’m climbing the mountain steadily, slowly but surely. As a kid, I used to make these handmade calendars. I couldn’t wait until the end of the school year. I am a planner by nature, but I’ve been doing a meditation practice since the first of the year, so I am trying to be more in the moment. With my schedule, I am forced to plan about three days in advance. I’m trying to enjoy the day, the moment, and the hour.
Onstage, especially doing this tour with The Postal Service, we played three sold out shows at the Hollywood Bowl. And there were a couple of moments where I just had to say, “Take all this in right now. Take a breath and look out, because this is as wonderful as it gets. This may not happen again. Be present in the moment. Be grateful.” I looked out, and I wasn’t nervous at all. 18,000 people out there, and I felt so connected to L.A., so connected to 20 years of this record, and my other records. It’s important to be in the moment, and appreciate these beautiful times.
Contact Jillian Condran, [email protected]
Quick Facts
•The song “Psychos” from Joy’All became the first Jenny Lewis song to hit No. 1 on the Adult Alternative Airplay chart.
•The Jenny Lewis touring band is currently comprised entirely of female musicians.
•As an actress, Lewis appeared in over a dozen teen movies, including Troop Beverly Hills. Cast in a multitude of episodic television guest spots, she also played Lucille Ball’s granddaughter in the short run of the Life With Lucy sitcom.
•Her 2014 full-length The Voyager was an emotional compendium influenced by Rilo Kiley’s demise, and the death of her father, Eddie Gordon.
•Among Lewis’ past side projects was the duo Jenny & Johnny, with Johnathan Rice, with whom she shared a 12-year relationship.
•Following her breakup with Rice, Lewis shared an apartment in New York with Annie Clark, aka St. Vincent. With friend Tennessee Thomas and Erika Foster, she performed as Nice As Fuck, and released a one-off collection in 2016.
•Also in 2016, Lewis flew to Haiti with Jackson Browne, to join a cast of global musicians in a benefit project called Let The Rhythm Lead: Haiti Song Summit, Vol.1. In her song “Under The Supermoon,” Lewis finds solace from the world’s problems among her new Haitian friends. She performed the song with Browne and Malian vocalist Habib Coite’.
•A line in “Under The Supermoon” chronicles her reaction to the 2016 Presidential election with this couplet: “I’ve never had such a fright/I gasped on election night.”
•Past Lewis recordings have enlisted illustrious players like Ringo Starr, Jim Keltner, and Benmont Tench from The Heartbreakers.
•The video for “Puppy and a Truck” includes a character wearing a dog suit. As he removes the dog head in the concluding shot, the character is revealed to be Harry Styles.
