![]() She excels at club-ready hits - she did write “I Love It,” after all - with a hint of melancholy just potent enough to hang around after the strobe lights fade. “We could fall in love in new shapes,” Charli suggests before falling back into familiar patterns: “And when the morning comes, I’m sorry, I stayed.” That’s another strength of Charli’s. Over an ’80s drum-machine beat, Charli, Polachek, and Letissier trade verses about keeping someone at an emotional distance. (See: “1999” featuring Troye Sivan, “Warm” featuring HAIM, “Cross You Out” featuring Sky Ferreira, literally the entirety of 2017’s underrated masterwork Pop 2 - the list is as long as a CVS receipt.) On the bombastic “New Shapes,” Charli teams back up with two former collaborators, Caroline Polachek and Christine And The Queens (aka French art-pop singer Héloïse Adelaïde Letissier), to create a synthy sugar rush with a slightly bitter aftertaste. I’ll take a solo Charli XCX single any day, but the UK avant-pop innovator really shines in collaboration mode. The next time Jenny Lewis comes through town, I can’t wait to see what instrument the dog plays. When it comes to dogs, she’s got a lot of needs: “I need a dog that’s hypoallergenic/ In the poodle milieu and photogenic/ Don’t shed, don’t bark, and can play in the band.” Apparently, though, she’s found one, and that’s the happy ending. She’s got no kids, no roots, no significant other. On “Puppy And A Truck,” Lewis sings about exes who have disappointed her and roots that she hasn’t put down. She finds one, too: “If you feel like giving up, shut up. For the most part, though, Lewis gets almost uncomfortably real on the song, working with country producer Dave Cobb to mine her own life for hard-luck lessons. “Puppy And A Truck” leaves a few details fuzzy when Lewis sings that she was “infatuated with an older man,” for instance, we just have to gossip amongst ourselves about whether she’s talking about Bill Murray. Since the early Rilo Kiley days, Jenny Lewis has held very little back.
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