Jenny lewis knows she's not a real Southerner. "Let's be honest," the 47-year-old indie-rock icon says on a Zoom call. "I'm a Jewish girl from the Valley, transplanted in East Nashville. I'm not an outlaw at all." It's true: In Tennessee, where Lewis has been splitting her time with L.A. since 2017, the only law she breaks is smoking weed. She's also allergic to horses. And bonfires. "I'm the nerdiest, wimpiest Nashvillian," she confirms. Even so, Lewis' new album, Joy'All, is her Nashville Skyline moment, full of cozy melodies and lush pedal steel guitar. There's even a song titled "Giddy Up." And during our interview, she drops wisdom like a local in a porch rocking chair. "You can look outward," she says. "But really, you got to get on your pony and ride on out."
On 2021's "Puppy and a Truck," you sang, "My forties are kicking my ass/ And handing them to me in a margarita glass." Do you still feel like your forties are kicking your ass?
Oh, absolutely. I mean, my twenties and thirties were kicking my ass. That's just my karma. Every 10 years, something major happens in my life and I melt down, but I persevere. Now, people can forever figure out how old I am, because I say [in the song], "I'm 44 in 2020." So all you have to do is the math.
How did getting a puppy and a truck change you?
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Esta historia es de la edición June 2023 de RollingStone India.
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DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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TINASHE 'I'VE BEEN IN THE GAME 10 YEARS.I'M NOT NEW TO THIS.I'M TRUE TO THIS'
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