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Sometimes a band comes along that breaks every idea you’ve ever had about genre stuck artists.
The eclectic look of the JLC crew for sure do justice to their diverse palette of music, which at times seems like it might require several different crowds to truly appreciate, but seems to jibe with those present this evening. I can’t believe that, having passed the quarter century mark only a week ago, I am already among the senior-citizen set in the multitude that have crammed themselves, shoulder to shoulder, in the claustrophobic hysteria that is the Village Underground.
And if the couple hundred flush fresh faces that crowd around me tonight are any indication, they’ve done their deed, and then some. For sure, I’m the only person in my immediate vicinity who is legally sporting a drinking armband. When I stumbled upon their 2001 release, Vertigo, I sincerely felt like asking someone to pinch me.
Lead singer Jay Clifford is the obvious heartthrob, a gallant sort of fellow sporting a guitar instead of a sabre.


It’s as if a conscious effort has been made, in every little detail, to avert being pigeonholed. There’s something in me too, after their set, that makes me feel the revelry and freedom that accompanies being 18 or so, finally being away from home, and seeing a show that just plain rocks.
The bulk of songs were stunning and etched perfectly, as if in crystal—fragile and delicate, reflective and glimmering, mysterious and cosmic in their power. Jay and Matt trade off in offering smiles and greetings to the crowd, who lap it all up like thirsty runners after a marathon. Obviously, this won’t be a huge night for her as far as drinks (and their tips) are concerned. I would listen to the album with my headphones on and fully steep myself in the serenity created by the lush layers of the instrumentation, vocals, lyrics.
Clifford, whose vocals are nothing short of fucking gorgeous, does a soul-searching acoustic number, then pulls down his pants on a dare.


At times they conjured memories of the naked emotiveness of Jeff Buckley, the diaphanous symphonies that pepper the end of Radiohead’s Pablo Honey, or the plain pop perfection of Neil Finn. Ward Williams looks like the small fry you remember from high school who, a few years later, has started pumping iron and sports a much better haircut.
I could play any song by them, but to get their real point across, here are two to blow your mind. And the drummer, Evan Bivins, unassuming in a white button-up and tasteful spectacles, poses a dramatic foil to his high-falutin’ bro.



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Author: admin | 27.06.2015



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