If you don’t know Joy Williams as the vocalist to guitarist John Paul White in the four-time Grammy Award winning folk band, The Civil Wars, perhaps you’ve noticed her songs on Grey’s Anatomy, seen her open for Adele, or heard her voice on collaborations with artists like Chris Cornell, Matt Berninger, or Hayley Williams.  Still doesn’t ring a bell?  Then now is the time to catch up, because Williams is strong, solo, and coming out swinging.

by Rosemary Vega

Williams previewed her first solo LP in a decade, “Venus” (available on June 30th) –to an enthusiastic crowd that fully embraced her new music– at the El Rey Theater in Hollywood on May 19th.  From the set list to the production, the show was elegantly constructed to tell the story of a woman who was dragged down by the difficulties of life only to be parachuted into a more powerful sense of self.

Williams aptly began the show at the start of her recent narrative, with “What a Good Woman Does.” The song is an open letter to her still-estranged ex Civil Wars band mate: “Everyone’s watching and you pick up and run/I could tell the truth about you leaving/But that’s not what a good woman does.”

Indeed, rather than divulging the details of their contentious split, she proclaimed loudly and as if to her own relief, “Hear me, I haven’t lost my voice without you near me,” with nothing but a hidden piano and synthetic strings as accompaniment.

With each note that expressed chilling clarity and tone, she brought depth and power.  In a surprising resolution, she shed the burden of the breakup, “Can’t carry the weight of this War,” and nearly spoke the words, “I won’t do it anymore” to an utterly breathless auditorium.

As if letting your voice loose into silent space wasn’t scary enough, few songs could have left her as emotionally exposed.  Breaking the stillness, a man in the audience gave her a “Woo!”  Williams, recognizing the sign of support, smiled and opened her arms up to the audience.

by Rosemary Vega

She could have easily used this performance to showcase her talent and promote her album, but in this moment it was clear that she was going to take us completely into her world, and into those moments of joy and connection she was feeling on stage.  From this point forward, each song she sang was like a robe she was taking off, making her increasingly more light, familiar and free.

Two keyboards, live and canned drums and supporting singers stood behind a projection screen, as if they were figures in Joy’s own dreams, with morphing digital imagery framing her sheer form.  Williams gave a shout out to Seven Design Works for the vision and execution of the set, as if they needed the publicity.  Seven Design Works, a creative concept and production design firm located in Santa Monica, works with artists from Paul McCartney to Bruno Mars to The xx, splitting their time between global-touring bands and emerging artists.  Without hoopla, bells or whistles, they created an extravagant visual experience that served Williams’ new trance leanings, evoking themes of nature, mystery and femininity.

“The Dying Kind” showcased a transition that might have put off her folk fans, but opened her talent up to a fresh audience.  Still, the electronics never competed with her voice, which physically and sonically took center stage, at once encircled by snowstorm flurries and aurora Borealis light emissions.  Dancing through the storm, she took a break in the song to be moved by the music, swinging her sheer gown in and out of the spotlight.  She might have looked like a little girl dancing alone in her mother’s gown if she didn’t also come across as so capable, mature and stunning.  Blushing and twirling, she owned the stage.

While she reacted to and wrestled with the music, whistles and feedback from the crowd kept Williams’ smile spreading open.  After a three minute applause break, it became clear that we were privileged guests in a very personal celebration of a dream being realized.

“I see some friends from high school,” Williams said, shading her eyes, “ Go Warriors class of ‘01!  I love the requisite “Oww!” to everything.”  She shared that many people who have been a part of her journey “from scouting boys to making music” were in the audience.

“It’s been a hell of a road getting here.  So much has happened.  Not just the ending of the Civil Wars, which was beautiful and hard and complex, but who am I now with a tiny human that’s on me all the time, with my marriage needing to get reprogrammed, and with my dad passing away.  I learned I had a voice I could break down or break open and move forward with, and that’s what making this record has been for me.”

It was easy to feel like she was our friend too.

Williams then transitioned into a stripped-down cover of Duran Duran’s “Ordinary World”  –anthem to anyone who’s watched their sense of self disappear before their eyes.  Not only did it reflect her embrace of a harsh new reality, it may have topped the original in its heartfelt-ness.

“I identified so much with The Civil Wars that when it went away, I had to process the myth that I’d been a part of creating, free myself of that, and rediscover my own voice,” Williams explained.  “Working through that really opened me up.  In finding my voice I found myself again.”

by Rosemary Vega

Her exclamation point was “Woman (Oh Mama),” a tribal tune with rushing melodies, twinkling triangle sounds and warrior cries.  Red hot and wild against a bloodshot backdrop, she claimed and proclaimed her own nature.

“I have moxy, damnit!  Who says moxy?  I just did.  I feel more in my skin than I ever have and that is a good feeling, owning the mess and beauty and ripeness and fullness of what life is.”

Set List:
What a Good Woman Does
The Dying Kind
Before I Sleep
Sweet Love of Mine
Not Good Enough
The One That Got Away (Civil Wars song)
One Day I Will
Until the Levee
Ordinary World (Duran Duran cover)
Dust to Dust (Civil Wars song)
Woman (Oh Mama)

Photography by Rosemary Vega

One day before releasing their second album, “Highlights,” Tanlines brought their U.S. summer tour to an overflowing crowd at the Echoplex in Los Angeles—their favorite city in which to play music, “and we can’t say that at every show,” praised percussionist/keyboardist Jesse Cohen at the May 18th show.

Cohen and vocalist/guitarist Eric Emm formed the electronic indie rock group in 2008, but this show was only the third time they’ve played with a full band. “We decided two main things about this album [Highlights] before we started it,” Cohen told Rolling Stone.  “We wanted to try to work outside of our studio in Brooklyn, outside of just looking at a computer, and we wanted to try to incorporate more of our live setup.”

In fact, some songs made their live debut, like “Green Grass” from “Mixed Emotions,” the band’s 2012 freshman album that earned them stage time last year at FYF, Red Bull Sound Select, and First City Festival, as well as gigs alongside alternative favorites like Vampire Weekend, The xx and Yeasayer.

Photo credit Carl Pocket, courtesy of the Echo

Collectively donning skinny slacks, an old white tee, and a man-bun, the crew undoubtedly washed up from the east side –though perhaps unwashed.  Indeed, Jessie confirmed they’d worked on “Highlights” with producer Patrick Ford up the street in Atwater Village, when they weren’t collaborating with Grizzly Bear’s Chris Taylor back home in NYC.  From coast to coast, the band’s hipster cred is strong, but devoid of affectation.  In a fog of pinks, blues and yellows came tropical synth grounded in a haunting soulfulness that perpetually surprises and satisfies.

Weaving emotional honesty into the fabric of a successful pop song, Emm sang, “I fall to pieces when we’re apart,” which had everyone joining in on the last drawn-out note, “away,” in spite of themselves.  “Pieces” showcases Emm’s voice as nearly unbridled as it builds, echoing the tension between Cohen’s precise drums, clicks and rattles and the band’s graceful melodies.

The fact is, Tanlines is more perfectly honest through its opposing pairs. “The thing about our music is it’s a balance between light and dark, happy and sad,” said Emm.  “The music will be happy, but there’ll be a sort of melancholic aspect to the vocal.”

The bright steel-y beats paired with moody 80s melodies in “Slipping Away,” which had the house shaking with energy, also alluded to a pathetically fading romance.

A leftover piece of confetti floated off of the rafters above us, “I feel like I just got up here,” said Cohen as he paused to re-tighten one of his symbols, “That must mean I’m having fun.”  He looked out over the crowd, taking it all in.

Rounding out the emotional range of the new album came the more leisurely “Two Thousand Miles,” and “Invisible Ways,” which conjure energy moving through molasses, pronounced by Emm’s thick, melting vocals.  Though their rhythms were impeccably coordinated, each man on stage seemed to be having his own private sensory experience, a quiet confidence gained with maturity.

“I’d call Highlights the album where things started making more sense,” said Emm, reflecting on the band’s transition from the post-youth existentialism in “Mixed Emotions” to a more revealing self-exploration and acceptance.  And the Echoplex, whose speakers are often blown out with muffled moans, had never sounded so sophisticated.

Getting to know Tanlines involves binge-playing a series of would-be singles, so once you’ve stopped obsessing over “All of Me,” which earned a slot on Rolling Stone’s Top 50 Songs of 2012, and this year’s “Pieces,” we suggest going for:
1. Brothers
2. Green Grass
3. Not the Same
4. Slipping Away
5. Real Life

Their new websiteis a mock Netflix where you can purchase their new album, buy tickets to their tour, AND enjoy descriptions of their hits as bromantic movie summaries, such as: “Pieces: When bae is away, all hell breaks loose in the dramedy of love,” leaving absolutely nothing to be desired.

L.A.’s most beauty-savvy men and women gathered at the luxury-boutique Mondrian Hotel in West Hollywood on Thursday to preview Alcon’s AIR OPTIX® COLORS contact lenses.  Part of their #LiveinColor campaign, now two years running, the lenses highlight Alcon’s 3-in-1 color technology in subtle and vibrant shades for a blended, natural look that isn’t always seen with other brands.

Instead of having every fashion blogger in the L.A. area packed into a banquet room, the eyewear mogul held several intimate gatherings throughout the day, giving everyone a chance to enjoy the open bar and pick the brains of the Color Squad, Alcon’s dream cast of celebrity trend-starters.

Lacy Redway, llaria Urbinati, and Scott Barnes

Collected like close friends on a white linen couch was award-winning fashion stylist, Ilaria Urbinati (clients: Nina Dobrev, Shailene Woodley, Lizzy Caplan, and Bradley Cooper), celebrated hair stylist, Lacy Redway (clients: Olivia Palermo, Angie Harmon, Uzo Aduba, Carmen Ejogo) and famed make-up artist Scott Barnes (clients: Jennifer Lopez, Christina Aguilera, Vanessa Williams, Naya Rivera).

While the advice they imparted earns the A-listers’ pretty pennies, the conversation felt more like gabbing over gimlets:

Speaking to some of the hottest colors for summer, Urbinati said, “People are often scared to wear a bright yellow, but this is the season to make that bold move.  You can probably pull it off better than you think.  Stay away from the olive or mustard yellows, and stick to a true sunshine.”

“Take it once piece at a time.” Barnes added, “Try a yellow jacket or a yellow mini skirt.  It doesn’t have to be a big bird situation.”

True to her word, Urbinati dressed Shailene Woodley in a long-sleeve white and “sunshine” yellow Tenesha gown from Emilia Wickstead’s Spring 2015 collection for her Berlin premier of “Insurgent”—the perfect occasion for dressing “dauntless.”   Pulling up a picture of Shailene on her iPhone, Ilaria couldn’t resist pointing out the Christian Dior Fall 2013 ankle-strap pumps, “I go crazy for the heels Dior comes up with.  This one feels classic and at the same time, like a work of art.”

Shailene Woodley in Emilia Wickstead’s Tenesha gown at “Insurgent” premier in Berlin

Feeling the glow from head to toe, Barnes set us straight: “The Ombre isn’t out, but the ‘Home-bre’ is.  It can easily look like a DIY job.”  Redway chimed in, “Be clear with your colorist that you want sun-kissed roots and a natural progression from roots to tips.”

“With these bright colors around your face, you’re going to want to bring in a contrasting liner and shadow that still makes your eyes the center of attention,” Barnes noted, “A deep plum shadow brings out brown, hazel, grey, green and blue eyes.  In other words, it’s plum and done, but eye color is where we can have some fun.”

Gone are the days when colored lenses were considered a trendy affectation.  Transforming eye color is a fashion-forward phenomenon that redefines a woman’s cache of looks.

But it isn’t until you try on a pair yourself that you see what’s possible.  Alcon came equipped with their team of Optometrists to help us look at ourselves through a new lens.

Choosing “Sterling Grey” out of the nine different AIR OPTIX® COLORS, a man who ordinarily has brown eyes said, “I never thought I could pull off looking mysterious.  I feel kind of sexy!”

I put the “Subtle Green” shade on my own finger, and the contact felt just as thin as the ones I’m used to wearing every day.  While I love my blue eyes, my red hair looked two shades brighter when my eyes were green, and yet I had everyone thinking they were my true eye color.  “You still look completely natural,” someone said, “except now I would believe you’re a Lannister.”  Picking up the Game of Thrones reference, I replied, “Maybe Joffrey should have worn AIR OPTIX® COLORS Subtle Green lenses…”

One woman posed to the Color Squad, “Is this just another way of telling women that their natural appearance isn’t good enough?”

“It’s so individual why we choose to change our look,” Redway replied, “So you have to look within yourself.  Playing with color shouldn’t be about feeling dissatisfied with yourself, but rather wanting to get creative, match your mood, or be bold.”

Women get the chance to try on Alcon’s AIR OPTIX COLORS contact lenses

Colored contacts present a fresh form of expression without the commitment of a permanent change, which is the case with many of today’s popular beauty trends.  No lazers, cuts or injections.  It feels more like putting on a coat of nail polish.  And as many women know, there’s nothing like looking down at a fresh pedi to feel renewed.

Alcon wants men and women to feel comfortable in their lenses when it comes to color and fit.  Visit their website to virtually try on each available color or receive an in-office trial offer.  Then, visit an eye care professional who can confirm that your contacts fit properly and administer a prescription.

Chatting with Ilaria, she opened the door to her life filled with glamourous moments while being as down to earth as her suede fringe jacket.  She’s more concerned with making her clients feel great than the hoopla that no doubt surrounds her.  “Film stars get to be themselves for once when they’re on the red carpet.  I try to put them in something they really like.”  She shared what are sure to be her go-tos this summer:

Live in Color: Sunshine Yellow and Marsala Red

Blake Lively in Cannes and Rihanna at the MET gala

Still in Style: Jane Birkin late 60’s: tribal patterns, fringe, high-waisted
Pay to Impress: Handbags: Chloe
Safe to Save: Shoes: Vince
Know Where to Go: The Reformation, Opening Ceremony, Fred Segal

On the second night (April 29) of indie pop duo Matt and Kim’s two night engagement at the Fonda in Hollywood, the pair showed the crowd something they’ll never forget— a woman in leopard-print pants twerking backwards on top of a bass drum slamming a snare.

Kim Schifino

That woman is Kim Schifino, who along with Matt Johnson are Matt and Kim, the indie pop duo from Brooklyn who still “can’t believe they’re big time.”  They started playing close to home in friends’ garages and urban warehouses, they vied for crowds at Lollapalooza, Bonaroo and Ultra and after years of coming up through venues like the Satellite, Troubador and Echoplex, this week the duo landed two nights at a venue with enough room to hold their growing L.A. following.

When they started out more than a decade ago Matt and Kim were part of a small pool of DIY danceable indie music, but when they released their fifth studio album New Glow this January – it was to a music landscape that is now oversaturated with disposable “pop-ternative” hits,  yet they still manage to stand out.  Their new tracks blend hip hop, EDM and punk.  “This album is the first time we sort of captured all our worlds in one place,” Johnson told Rolling Stone, “I believe a song like ‘Get it’ has always been a Matt and Kim song.  We just hadn’t recorded it yet.”  Indeed, their lead single on the track captures their celebrated party-goers spirit, “At 1am, we don’t want to go home, at 1am, we go for gold.”

While their repetitive lyrics have maintained

Matt Johnson

a blissful rejection of sophistication, New Glow explores a new theme—their own relationship.  Even loyal fans didn’t necessarily know that Matt and Kim was inspired by the couple, Kim and Matt, but their chemistry is one of the reasons we love them, and what might make their new slew of tunes the most honest of all.  In Johnson’s words Tuesday night, “Kim and I are one plus one equals we bring the heat.”

In fact, their performance is a full sensory assault.   In one night, you could pregame watching a music video of the duo nearly getting arrested streaking through Times Square, hold a dancing Kim up in the air at their concert on the palm of your hand, and hook up with someone with great music taste using the hashtag #KimsDatingService after the show.

Once you enter their space, you better be ready.  With one person in a unicorn head and another wearing a banana suit, the crowd made it clear Tuesday night they had come to play.  The show began with the song “Tonight” from their 2012 album, Lighting.  Matt sang, “Together we will tear this place apart, I’ll cut the finish line when the race starts.”  And in a flash of pink and green lights, they were off.

Kim Schifino and Matt Johnson

After plucking one or two songs from their stock of recognizable hits, it was clear in a synth-heavy, on-beat sequence of horn sounds that they had begun to play from New Glow.  With a nod to Kim, Matt sings, “Hey now girl, if you die, I’d die right by your side.”  This song, “Hey Now,” and the next, “Not Alone” not only verbalized Kim and Matt’s playful love, but revealed why the couple still prefers to stay local—they miss their families when they’re away on tour.  Even in complete rejection of maturity, their truth is in a relatable story told simply.

Then there are their other new tunes like “Hoodie On,” which is devoid of wit, but utterly joyful.  “We don’t want to mature in albums. We want to keep things simple and fun,” Johnson has said, “And it’s surprisingly difficult to keep it simple and true without sounding cliché.”  True, it’s not every day you hear someone say, “I go everywhere with my hoodie on, I wrote this song with a hoodie on.”

This will lift your spirits, but it was never more refreshing to revisit the soul-hitting songs like “Daylight” or “Let’s Go,” which have more nuanced melodies.

Another example, “Cameras,” from their 2010 album Sidewalks, inspired a crowd sing-along that completely drowned out Matt’s voice coming through the speakers.  He stopped to say, “A mosh pit is actually breaking out up front here—my punk rock dream as a teen.”

The pair builds the energy and doesn’t let it drop until the end of the show—in fact, during a past show, the venue got so hot that the fire department came to shut them down.  It is impossible to look at Kim’s smile without throwing back your own hysterical grin.  Even between songs, we were pumped up with dance moves and interludes of DMX, UNK’s “Walk It Out,” and R. Kelly’s “Ignition.”  And for a few seconds, we might have even done the “Cha-Cha Slide.” For a mid-week show, it’s a solid hour and a half that makes you forget you ever endured a workday in your life.

Kim Schifino

What’s more, you’ll likely make new friends.  One segment of the show called, “Help a Shorty Out,” had the tall and the small pairing up to make the whole crowd really high.  Few artists can inspire two grown men stacked on top of one another, belting out “Let’s Go!”

Our advice: bring a date, or bring your bros, but wear minimal clothes.

The crowd voted that the last song should be “Lessons Learned,” keeping us present while we sang, “Thinking about tomorrow won’t change how I feel today.”  But at 1am, we didn’t want to go home.  Matt and Kim broke back out on stage for “Daylight” from their 2009 album, Grand.  And then they cut the breaks…

Kim stepped out onto two audience members’ hands and said, “I might be on top of you two, but I’m dropping that p***y low for all of you.”  Matt fondly looked at her saying, “She’s got the mouth of a 60 year old sailor…and the body of a 15 year old boy.”  Kim lifted her shirt up grinning.  Completely comfortable being who they are with each other, their fans, and apparently all of Times Square, Matt and Kim will show you the love…even if they get arrested for it.  Matt closed the show saying, “This is the love of my life, we’re Matt and Kim, and you make our dreams come true every day.”

Photography by Rosemary Vega on April 28, 2015.