It’s difficult to find fault with Lewis’s debut solo outing, the Country/Gospel soaked “Rabbit Fur Coat”, because although flawed by a sense that the laid back musical atmospherics shrouded some of her most intimately edgy lyrics, it was still a radically intriguing departure from her day job with Rilo Kiley. “Acid Tongue” the follow up, retains the relaxed pace, but deliberately filters in a broader spectrum of musical styles, with roots firmly planted in small town Americana. The uncluttered sonic images she creates expose the gentle harmonies, Lewis’ seductive voice, and her continuing song writing skill. The deliberate minimalism at times needs fleshing out to expose the true beauty of certain songs, particularly the opener “Black Sand” and the tangled relationship drama of “Godspeed”. Her duet with Elvis Costello on “Carpetbaggers” is only half a success as Lewis steps up to deliver with necessary conviction the story of seductive manipulators, whilst Costello struggles with the melody to the extent that his contribution sounds like a desperate nasal whine. Sister Leslie Lewis adds vocals to the excellent up tempo “See Fernando”, which has already become a popular live staple. Centre stage is the ambitious segueing of three songs in one (“The Next Messiah”), which effortlessly crosses musical boundaries, and highlights her abilities to execute beyond the confines of the three minute pop tune.Overall, it’s an admirable performance that further enhances Lewis’ stock as a strong storytelling songwriter with an immense capacity for touching melodies. A more expressive and fuller instrumental backdrop to her obvious skills would have made “Acid Tongue” the memorable experience it hints towards. Sadly, she really missed a trick here, for the truly great songs are marred by hollow production and arrangement skills.
7.0/10
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