The Eames Era | Theater Critic's Choice | Chicago Reader

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The Eames Era is a likable band. Just likable: they're not ingratiating, arresting, magnetic, or particularly overwhelming. So anybody who demands mighty revelations or raw passion from art won't get much satisfaction out of Double Dutch (C Student), the first full-length from the Baton Rouge indie-pop quintet. I'll admit that the band's curious lack of neuroses can leech the music's immediacy--the twin guitars often cooperate too smoothly to generate frisson, and the bottom end sometimes bounds forward without achieving any real ebullience. But the band's sanity is also an asset--it keeps their songs free of twee, and Ashlin Phillips sounds too well-adjusted to seek comfort in any kindergarten aesthetic. Her voice brings the band's strengths into focus: it's full and warm, not raw or explicitly flirtatious, and it's bolstered by such assumed confidence that her assertions are no more insistent than necessary ("When you talk like a fucker / It's not what you said / It's that you said it in a cynical tone"). She knows what she wants and she knows how to get it, you might say. Still, she's probably too no-nonsense to ensnare those Rilo Kiley fans who are nostalgic for the days before middle-aged critics started ogling Jenny Lewis in print. Their loss. The Recordlow and Otter Petter open. Sat 3/4, 10 PM, Subterranean, 2011 W. North, 773-278-6600 or 800-594-8499, $8.

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