Carly Rae Jepsen Shares the Stage with the Indianapolis Symphony Orchestra

December 1, 2017 by Leave a Comment

As Carly Rae Jepsen’s devoted following awaits a proper follow-up to 2015’s critically acclaimed Emotion, the pop songstress has done little to slow down. Last year’s Emotion: Side B was a killer collection of B-sides that felt like a completely new album. Throw in a role in Fox’s Grease Live, the release of 2017 song of the summer contender “Cut to the Feeling”, and an upcoming opener slot on Katy Perry’s Witness tour, and Jepsen has kept a full schedule.

In the midst of it all, Jepsen found time to perform with the Indianapolis Symphony Orchestra on November 21. While the initial announcement of the performance garnered varied reactions, the night itself lived up to every possible expectation.

While covering Jepsen’s Gimmie Love Tour in 2016, I remarked on the joyfulness of Carly’s audience and her unique ability to liven a room. A year later, even the confines of an orchestral performance inside the gorgeous Hilbert Circle Theater in Indianapolis couldn’t hold onlookers in their seats.

Such a performance requires a bit more than mere stage presence, to be sure. Without the familiar comfort of her backing band and tracks, no backup singers, and accompanied by one of the most renowned symphonies in the world, Jepsen held her own. From the opening moments of “Run Away with Me”, preceded by a beautiful introductory arrangement, Jepsen’s voice filled the auditorium.

Throughout the evening, Carly showcased her vocal abilities, hitting big notes with ease on tracks like “Making the Most of the night” and “When I Needed You”. Perhaps even more impressive than her pitch-perfect delivery was her knack for morphing her unique brand of pop to fit new arrangements. It’s hard to imagine a song like “Cut to the Feeling” meshing with strings and woodwind instruments until you hear it for yourself in such a setting. Give credit to the Indianapolis Symphony for capturing the heart of these songs in new and exciting ways.

Just as sections of the crowd near the stage would begin to stand and move with the music, strategically placed intermissions allowed for Jepsen to exit as the symphony played classical pieces. Still, as the night progressed, performances of “Boy Problems” and “Call Me Maybe” ended any reverence for the theater setting. By the time Jepsen returned for an encore of “I Really Like You”, the auditorium aisles had transitioned to narrow dancefloors.

The point here is that the joy of a Carly Rae Jepsen performance is not determined by setting or arrangement. Standing in front of an orchestra, dressed in gown and heels, Jepsen not only held her own as a vocal performer, but shared the joy of the moment with her audience in a way that so few artists can. That’s a talent that doesn’t fade quickly, and it’s why so many of us are so excited for what comes next.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

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Most Anticipated of 2017: #10 Carly Rae Jepsen Rides Her Own Wave

January 3, 2017 by Leave a Comment

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“New album on the way…but here’s something to hold yah over till then.”

A year after releasing one of the most satisfying pop records of the decade, Carly Rae Jepsen followed up her quiet 2015 acclaim with Emotion Side B – a collection of songs that didn’t make the cut on her last record but still somehow sound better than almost anything currently playing on pop radio.

Ever since her one-hit-wonder fame of 2012, Jepsen has been unobtrusively rebranding herself as something of an underground pop icon. Her fervent core fan base reached cloud nine with the release of Emotion, transforming the perception of Jepsen and making clear that the best may be yet to come. After scrapping a folk-inspired follow-up to Kiss in favor of an 80s-infused explosion, it would seem that nothing is outside the realm of possibility.

To be fair, Jepsen fans have been spoiled these past two years – two stellar releases, a massive world tour, appearances on everything from Grease: Live to SNL with the theme song to last year’s Full House reboot thrown in for good measure. Perhaps that’s what makes the possibility of another record so enticing – it’s clearly Carly Rae’s time to shine. Or maybe we’re just greedy. Either way, here’s hoping for another dose of pop medicine in 2017.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

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Review: Carly Rae Jepsen – Emotion: Side B

September 6, 2016 by Leave a Comment

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Carly Rae Jepsen proved to be one of the most unexpectedly fascinating figures in pop music last year. Emotion, her follow up to 2012 smash breakthrough Kiss, proved to be one of the year’s most lauded releases, even if its commercial performance lagged. Fortunately, we didn’t have to wait long to find out if Jepsen’s artistic resurgence was a fluke.

Just over a year after the release of Emotion, Carly Rae has blessed us with Emotion: Side B – a collection of songs that didn’t make the cut, but are just as worthy of praise.

You can buy Emotion: Side B on iTunes.

You can buy Emotion: Side B on iTunes.

If you come to our site with any regularity, you know that I’ve written ad nauseum about Jepsen’s unassuming brilliance and won’t be surprised that I find this latest release one of the most satisfying moments of 2016. Emotion: Side B is littered with pop gold and is a testament to Jepsen’s aptitude for writing killer songs. How is it possible that eight songs that didn’t make the cut for her last album are still better than 90 percent of what’s playing on pop radio?

“First Time” opens the release in Madonna-esque fashion, fully bathed the 80s influence that peppered Emotion. Over popping synthesizers, Carly Rae delivers the most Carly Rae chorus imaginable: “When my heart breaks, it always feels like the first time / If you stay here, we could kiss away the goodbye”. Mere moments into the first track, Emotion: Side B throws caution to the wind, dropping any pretense of self-seriousness.

Carefree indulgence continues on “Higher”, a song so damn good it’s hard to imagine why it was cut from Emotion. “You take me higher than the rest / Everybody else is second best / You pulled a gem out of the mess / I was so cynical before, I must confess”, Jespen belts during the song’s grand chorus. It’s another pulsing homage to 80s pop that sounds as though it wouldn’t have felt out of place on the soundtrack of Drive.

“Fever” is a moody song that works as the answer to “All That”, the Hot A/C track that felt slightly out of place on Emotion. “Body Language” is the dance-y sibling of “Let’s Get Lost” and finds its footing during a sizzling chorus: “Body language will do the trick / If you stay with me tonight, then we’ll talk it over”. Each track on Side B could easily fit within Emotion without causing much of a fuss, with the sole exception being the fairly uninspired “Store”.

Emotion: Side B is a delightful treat for Jepsen’s fans, who have become enthusiastic grassroots promoters of an underdog artist. It’s also validation for those of us who sang the praises of Emotion without irony and argued for the value of pop music as a self-aware salve. Jepsen holds the unique ability of bridging the gap between indie pretentiousness and mainstream inclusiveness – happily typecast, but delightfully surprising.

In short, Emotion: Side B is the irony-free pop music we needed in 2016. It’s also a pretty nice holdover as we eagerly await whatever comes next.

4/5

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

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Carly Rae Jepsen’s Gimmie Love Tour Shines Bright

March 21, 2016 by Leave a Comment

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The Madison Theater is a diamond in the rough – a unique, historic venue in Covington, Kentucky, resting just south of the Ohio River in the long shadow of downtown Cincinnati. While not the most exclusive or celebrated concert hall in the area, it serves as an unsuspecting intimate setting with its own quirky style and layout.

On this night, these distinctive characteristics make it the perfect location for one of pop music’s most underrated and overlooked artists: Carly Rae Jepsen.

When I reviewed Emotion, the latest release from Jepsen, last August, I was still grappling with how much I enjoyed the record. Stepping out from underneath the piercing glow of “Call Me Maybe” was challenging for many music fans, but the light on the other side has proved to be even more enjoyable and lasting than another quick fix. Emotion has shattered expectations, becoming one of the most lauded pop albums in recent years.

In the time since its release, Emotion has appeared to gain steam due to its inclusion on countless end-of-the-year lists, Jepsen’s various TV and radio appearances, and word of mouth promotion from fans convinced of the record’s merit. Interestingly enough, Jepsen’s current Gimmie Love Tour serves not as a reintroduction to the artist we met four summers ago, but as a validation of her status as one of the most likable and unsung pop singers on the planet.

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Cardiknox

Setting the table on this tour is Cardiknox, a surprisingly powerful synthpop act that recently released their debut album, Portrait, and appear to be taking full advantage of this opportunity. Vocalist Lonnie Angle has the stage presence of a veteran singer and commands the crowd’s attention. By the second song of the band’s set, the crowd is bouncing and singing along to the infectious chorus of “On My Way”.

This lively set proves to be the perfect primer for Carly Rae’s own brand of synth-driven power pop. Taking the stage to the slick saxophone intro to “Run Away with Me”, Jepsen dives right into her best and most astonishingly overlooked track. It’s clear from the get go that the vast majority of the crowd in Covington has little longing for “Call Me Maybe” – the fans belt out every note of the chorus, nearly drowning out Jepsen’s voice.

It’s exceedingly rare that an entire night lives up to those electric opening moments when the main act takes the stage, but this performance is a communal one from start to finish. During the course of her 19-song set, Carly plays every song from Emotion (bonus tracks included), along with standouts from 2012’s Kiss. Never once does the buzz die down or the crowd become disinterested. Instead, they sing and dance along in unison.

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Carly Rae Jepsen

Looking around the venue, it’s a diverse gathering. With the event falling on St. Patrick’s Day, many don green as they hold a drink and dance to the music. Smiles abound and the vast majority of the crowd seems to know the lyrics to almost every song. In fact, the night’s most rousing moments come with the performance of random tracks from Emotion like “Gimmie Love” and “I Didn’t Just Come Here to Dance”, which elicit just as much energy from the crowd as more well known hits like “Good Time”. Perhaps the infectious nature of Emotion is finally spreading.

Jepsen’s stage presence matches her artistic persona – she appears full of joy and giddy excitement, but seems uninterested relishing the spotlight. Her performance feels akin to a friend singing along with you to your favorite song during a car ride, an act that seems natural and deeply familiar. It’s hard not to smile and nearly impossible to disconnect from the delight of those around you.

Carly shares relatable stories of heartbreak and longing before tracks like “Boy Problems” and “Tonight I’m Getting Over You” but invites everyone to brush it all off with “Let’s Get Lost” and “This Kiss”. No matter the subject, bright melodies, pulsing synthesizers and flashing lights keep the energy upbeat and the room jumping. By the time “Call Me Maybe” and “I Really Like You” crash through the speakers, the crowd is already on an emotional high.

Last year, I privately wondered whether the initial neon shock of Emotion would easily wear off over time. Nearly eight months later, I’m enjoying the record more than ever. There’s a very real shelf life in the world of pop radio – something Jepsen is acutely aware of. In 2015, certain pop mainstays managed to cast a convenient shadow over one of the year’s most critically acclaimed records, but Carly Rae’s ability to sidestep a potential drop off and barrel forward with the best music of her career has proved admirable. That she navigates an often dark and crooked business with a smile and a shrug, inviting us all to a much brighter point of view, is something even better.

Carly Rae Jepsen
Carly Rae Jepsen
Carly Rae Jepsen
Carly Rae Jepsen
Carly Rae Jepsen
Carly Rae Jepsen
Carly Rae Jepsen
Carly Rae Jepsen
Cardiknox
Cardiknox

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

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Review: Carly Rae Jepsen – Emotion

August 17, 2015 by Leave a Comment

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Since the dawn of time, mankind has wrestled with the meaning of pop music. There are certainly moments when a pop song digs deep at our innermost fears and speaks to our soul in the most inexplicable of ways. At other times, it serves as the butt of our jokes and the catalyst for us to throw caution to the wind at a friend’s wedding and dance the night away.

Perhaps pop music is at its best when it falls somewhere in the middle – defying logic by its mere presence, yet offering comfort as the soundtrack to an assortment of life’s memories. Canadian star Carly Rae Jepsen not only struck gold with “Call Me Maybe” in 2012 in terms of commercial success, but also managed to find the perfect balance of sincerity and unabashed youthful indulgence. What are the chances that lighting could strike twice?

You can buy Emotion on iTunes.

You can buy Emotion on iTunes.

Jepsen’s new album, Emotion (stylized as E·MO·TION), doesn’t have a “Call Me Maybe” – and that’s actually a good thing. Instead, her follow up to 2012’s Kiss is very clearly a statement of authenticity and a personal reflection of Jepsen as an artist. The fact that it’s blanketed in sugary-sweet 80s-inspired pop is just icing on an already delicious cake.

If Emotion doesn’t float your boat stylistically, there’s nothing wrong with you – this sort of over-the-top extravaganza isn’t for everyone. However, it’s impossible to deny just how catchy these songs are. Jepsen has already proven her ability to combine bubblegum flavor with innocent ponderings on life and relationships, but her new album takes the entire approach to new heights.

Opener “Run Away With Me” is not only a microcosm of Emotion as a whole, it might be the best song Jepsen has written. The pulsing synthesizers, thumping bass line and sporadic claps scream of the album’s 80s influences. Whereas Taylor Swift splashed drops of the decade onto last year’s 1989, Jepsen dives in headfirst. Her surprisingly sultry lyrics of “Oh baby, take me to the feeling / I’ll be your sinner in secret / When the lights go out / Run away with me” brush away the lingering hints of “Maybe”.

Jepsen shows flashes of influence throughout the album from a number of 80s power pop stars. The album’s title track channels Like a Prayer-era Madonna with a soaring chorus, while “Let’s Get Lost” feels like a Janet Jackson hit. Her wonderfully playful chorus of “Baby let’s go get lost / I like the way that you’re driving slow / Keeping my fingers crossed / That maybe you’ll take the long way home” is vintage-Carly Rae in 2015.

The closest Jepsen comes to the explosiveness of “Maybe” is with “I Really Like You”, a single released almost six months before the album that now feels like a stowaway aboard Emotion. It’s still catchy as hell, but it almost feels like the primer for the rest of the record. Nevertheless, those programmed drums and the song’s massive pre-chorus of, “It’s way too soon, I know this isn’t love” still pop with just as much energy as ever.

When Carly Rae is at her best, she’s able to turn potential train wrecks like “Boy Problems” into thrilling roller coaster rides. A cord-twirling phone call with a friend about boy trouble lags deeply in the lyrical department, but somehow still turns out to be one of the most enjoyable tracks on the album thanks to an incredible melody and an almost audible wink at the camera. The same formula works on “Your Type”, Jepsen’s answer to Swift’s “Blank Space”.

Nevertheless, it’s nearly impossible to throw a perfect game when your only pitch is a fastball. Jepsen tries her hand at a ballad in the form of “All That” but comes up short. The plucking electric guitar and starfall synthesizers come off as cheesy, while the slow pace of the song feels uncomfortably forced. “LA Hallucinations” attempts to tackle the dark side of being an overnight success, but lines like, “Money makes your whole world spin” and references to “Buzzfeed buzzards and TMZ crows” land painfully awkward. Maybe introspection is best saved for tracks that aren’t backed by Nintendo sounds.

Still, a few scattered wild pitches can’t distract from the overall body of work. Emotion could very easily have fallen flat, leaving Jepsen as a forgettable one-hit wonder. Instead, her new album solidifies her as a pop powerhouse at a time when it’s harder than ever to stand out amidst the muddied radio crowd. If Carly Rae’s ability to come off as genuine while driving a glistening vehicle normally reserved for the counterfeit becomes her legacy, it’s not a bad one to have. That seems like the kind of pop music we can all enjoy.

4/5

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

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