It’s no secret that surviving in the music business over a long period of time is exceedingly difficult. Some choose to produce work entrenched in specific niche markets, some look to collaborators and producers to update their sound, some build enviable fan-bases that hang on the artist’s every word and some choose to diversify their product in order to reach different audiences. Lisa Loeb is one of those artists well-versed in diversification, and quite frankly, it’s been necessary for her to maintain relevance following the one-two punch of smash singles “Stay (I Missed You)” and “I Do.” Ask just about anyone conscious during the 1990s and they’ll be able to recite at least one whole verse to “Stay.” Chart toppers that experience such wild success without much follow up can (and often do) lead to the one-hit wonder death knell; however, thankfully for Loeb, she broke the scene right before Lilith Fair swept the nation and cemented the female singer-songwriter in the cultural vernacular. Capitalizing on the movement, Loeb participated on the main stage in all three iterations of Lilith, from 1997-1999. And she did so promoting music that exhibited strong song-writing, accessible production and universal appeal.
Unfortunately, Loeb appears to have lost sight of that voice in the last decade, and instead has focused on television projects like E!’s “#1 Single,” a reality show based on her pursuit of romance and the Food Network’s “Dweezil and Lisa,” hosted with former boyfriend Dweezil Zappa. She released two albums geared towards children: Catch the Moon (2004), written with Elizabeth Mitchell, and Camp Lisa (2010), which has spawned Camp Kappawanna, a musical adaptation of the record. And in March, she launched her own eyewear line, capitalizing on her cat-eye glasses signature look. In no way has Lisa Loeb been idle, but it’s been seven years since 2004’s excellent The Way It Really Is, which while not as commercially successful as her first three records showcased a maturing voice, cohesive sound and her continued skill at crafting great folk/pop songs. Amidst all the diversions, the fact remains that Loeb has written and released quality music worthy of her success and esteem. It’s time for her to realize that and not be afraid to continue fearlessly as the great singer-songwriter she has every capacity to be.
Her visit to Yoshi’s Jazz Club in February was in every way erratic. She opened with “Wishing Heart” from 1997’s Firecracker. It’s one of her best songs, and her solo rendition was earnest, engaging and ruminative. Rather than moving forward buoyed by this momentum, Loeb decided instead to dive into a three song mini-set pulled from Camp Lisa pieces. Her passion for children is both uplifting and sincere, but the decision to dedicate so much time at the beginning of the show was ill-advised and frustrating. Yoshi’s is known for its more mature audiences, and artists who perform at the venue usually tailor their setlists to adjust to the crowd dynamic. Unfortunately, by emphasizing the Camp Lisa work after the beautiful “Wishing Heart” deflated much of the audience’s enthusiasm, so when she picked up with “Snow Day” and “Truthfully,” both gems of her catalogue, they were met with muted interest.
For many of the Lilith-ers, there were one or two main hits that were ubiquitous and everyone knew. For the Indigo Girls, there was “Closer to Fine” and “Galileo,” Shawn Colvin had “Sunny Came Home” and “Polaroids,” for Jewel “You Were Meant for Me” and “Foolish Games,” Paula Cole’s “Where Have All the Cowboys Gone?” and “I Don’t Want to Wait.” Each of these artists continue to play these songs at every single one of their concerts, knowing that certain segments of the audience came to hear those specific hits. And rather than treat them with hostility or exasperation, they make a witty joke to introduce the song, or they simply launch into it. For Loeb, she seemed to completely skirt the elephant in the room, and quite frankly seemed put off by both “Stay” and “I Do.” They were serviceable renditions, but it was clear her heart was not in it for either. She even forgot many of the lyrics to the latter piece, and while that can be charming in other instances, it came across as somewhat arrogant.
The most frustrating aspect of the show was how little Loeb seemed to invest in the performance. Her playing was erratic, she seemed unrehearsed and rather than try and present a thoughtful overview of her career, she skipped over tons of songs that could have bolstered the set, like “Sandalwood,” “Fools Like Me” or “Underdog.” And when she discussed her eyewear line, she was the most animated she’d been all evening. Was the show an afterthought, put together following an engagement to sell her wares? Now, such an indictment is partially unfair, absolutely; however, after such an inconsistent set, it was hard to escape the disappointment. While many were there because of Lisa Loeb’s star power, many came to hear her play the music they adore. She’s an accomplished singer-songwriter with a discography that stands up next to her contemporaries. Hopefully the next time she comes into town to play, she won’t try to wear too many hats (or different glasses, for that matter), and she’ll be Lisa Loeb, the musician we came to love over the past fifteen years. She’s an accomplished singer-songwriter with a discography that stands up next to her contemporaries. Hopefully the next time she comes into town to play, she won’t try to wear too many hats (or different glasses, for that matter), and she’ll be Lisa Loeb, the musician we came to love over the past fifteen years.
Setlist:
Wishing Heart
Best Friend [from Camp Lisa]
Grandma’s in the Cellar [from Camp Lisa]
Love is a Rose (Neil Young cover) [from Camp Lisa]
Snow Day
Truthfully
Five Dollar Umbrella
Stay (I Missed You)
Everyday
Do You Sleep?
Diamonds
Amy, I’m Sorry (New Song)
Take Me Back
Furious Rose
I Do
Encore:
Going Away [from Camp Lisa]
Butterfly
