Kitty, Daisy & Lewis Revel In Homecoming
Published
Kitty, Daisy and Lewis were a delicious yet credible novelty when they arrived on the scene in 2008. Nostalgic rhythms that felt like they were plucked from the depths of the Deep South, combined with honky tonk, bluegrass, Hawaiian pluckings and rhythm and blues made them a very attractive proposition. Plus they were young – uber-young.
Now in their twenties, the trio were mere teenagers when their sounds first came to the limelight, helped by a smart sync deal for "Going Up the Country" and on a Waitrose ad. The three siblings play every instrument under the sun from accordion to xylophone, and have fans from Dustin Hoffman to David Lynch.
But like many bands riding the tide of suddenly being SoHotRightNow, it can be tricky after the tide has subsided. The band didn’t quite crack mainstream and remain a delicious pleasure to those in the know. This Spring has seen the release of album number three, cunningly called 'Kitty, Daisy and Lewis The Third'. Their sole London date is at the Electric Ballroom, and it is well packed with an odd mix of an audience. Their retro vibe seems to have pulled in men over 50, yet right down the front the entire stock of their former school seem to be jumping up and down.
Lewis’ voice is a treasure, and although I worry about causing sibling jealousy, it’s far preferable to his sisters with great tone and confidence. Tracks like "Baby Bye Bye" and "Developers Disease" are beautifully retro with his subtle and understated vocals. There are a few duff notes occasionally which make me wonder if there's an issue with the feedback monitors, but it could be the band's forgive able excitement about playing to the home crowd. Yet "Whenever You See Me", the first track from the new album spends its duration speeding up and slowing down.
The Clash's Mick Jones produced this third album, and quietly joins them for a track, modestly hiding in the shadows of the stage. The songs that work best are the ones that embrace the bluegrass like "It Ain't Your Business" and "Good Looking Woman". Their nostalgic edge is deliciously positive and toe tapping. Take Me Home has a lolloping soporific drunkenness to it that could be made more of. Slightly over-excited in an endearingly youthful way, you can help but catch the band's excitement at their homecoming.
To find out more about Kitty, Daisy & Lewis click here.
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Words by Amy Vickery
