(U-WIRE) BERKELEY, Calif. — “I was your silver lining, but now I’m gold,” Rilo Kiley frontwoman Jenny Lewis sang at the Warfield in San Francisco on Thursday. It was fitting. Standing in a sparkling gold dress before a shimmering gold curtain, she’d never shined brighter.
San Francisco was the first stop for the band’s U.S. tour. It follows closely behind the release of their latest album, “Under the Blacklight,” which has drawn equal parts ire and praise from critics and fans. But despite the album’s mixed reviews, Rilo Kiley appeared confident and eager to remind fans that they still know how to put on a good show.
The band opened with “It’s A Hit” from 2004’s “More Adventurous,” perhaps as a way of easing the audience into the band’s new, divisive sound. And it worked — the crowd lost no enthusiasm as the song segued into the more recent “Close Call.”
If there was any resentment or disappointment among the fans in attendance, it didn’t show. Though earlier songs inspired a more animated response, all were well-received. When Lewis announced that they would be playing a series of tracks from the new album, she was answered with cheers.
And any remaining dissenters were likely swayed by the energy Rilo Kiley put into their performance. Lewis bounced around on stage with a cowbell during “Breakin’ Up,” reinforcing its position as one of the happiest songs about a failed relationship ever. And though guitarist and sometime singer Blake Sennett’s “Dreamworld” fell flat, “Moneymaker” was one of the show’s highlights. By itself, the song is largely forgettable, but combined with the harsh red lights, searing vocals, and sultry dance moves, it was a steamy success.
In fact, Lewis’s status as indie sex symbol was central throughout the concert. She managed to distinguish herself from other former child actresses, however, by using her sex appeal in a markedly more positive way. In an eye-catching dress, Lewis proved that you can be provocative without being tasteless: The image that emerged is that of confident, effortless sexuality. And it worked to her advantage in songs like “Smoke Detector,” which is less about promiscuity than sexual dominance.
Indeed, Lewis has matured, and Rilo Kiley with her. The band has gone from relative obscurity to near-mainstream popularity; they’ve moved from intimate venues to the Warfield. But through all these transitions, Rilo Kiley has not forgotten how to engage their audience.
“I need two volunteers,” Lewis began, and hands shot up instantly. She explained that she’d made up a dance but hadn’t tried it out yet, and she needed two people to test it onstage while she sang. Almost apologetically, she continued, “It’s not ‘The Frug,’ in case you were wondering,” referring to the song featuring the dance of the same name.
During “Silver Lining,” the band sent out giant silver balloons into the crowd. They were tossed around like unwieldy volleyballs until they popped, showering gold streamers on the people below. And although they occasionally disrupted the song, they did make the crowd feel like part of the show.
Rilo Kiley’s sense of humor also remains intact. Sennett had a ukulele duel while singing “Ripchord,” a jaunty little song about suicide. Later Lewis joked, “This is a cover song,” before launching into “Rise Up With Fists,” a song from her own solo album, 2006’s “Rabbit Fur Coat.”
It’s good to know that after a contentious album, Rilo Kiley can still bounce back, producing a show with the same playful, positive tone as before. Their style may change, but if Friday’s concert is any indication, that doesn’t mean they won’t continue to shine.