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A bohemian solo artist, debuting fresh tracks at the open mic venues of Greenwich Village: perhaps the times aren't as different as we thought. Jeffrey Lewis continues to embody the outlaw troubadour fantasy, embracing his musical heritage in his newest album, ‘The EVEN MORE Freewheelin’ Jeffrey Lewis’, featuring a cover that mimics Bob Dylan’s iconic record – but without any clothing.
While it may seem like he’s jumping on Tim Chalomet’s Dylan-inspired trend, Jeffrey is genuinely committed to the indie-folk legacy. His vast discography doesn't quite reach the influence of Dylan’s, yet two decades of independent releases, alongside a comic book career, is quite commendable.
In fact, his hand-drawn illustrations appear to inspire those looking to replicate his style, and he isn’t hesitant to act upon that. When Sabrina Carpenter’s tour poster showcased a heart-shaped vinyl reminiscent of a Lewis original, he made a personal appearance at her closest concert to demonstrate – more details on that later.
Additionally, there’s a new documentary making the festival rounds, titled ‘Roll, Bus, Roll’, while Lewis and his latest band, The Voltage, are touring Europe with their distinct blend of lo-fi melodies and animated sketches. Clash connected with them via video call aboard their tour bus on a Friday afternoon.
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How is the tour treating you, Jeffrey? Where are you right now?
We're just loading up the van to head out to Cambridge. It’s been great; we haven't had many European gigs since the pandemic, so it’s nice to revisit those roads and cities. Over the years, I've tried playing in various venues of different sizes.
You performed in large halls years ago, but now you often do multiple nights at smaller venues?
We reached up to 1200 in capacity at one point, but it didn't feel right to me. The larger the venue, the smaller the percentage of door money you take home, around 30% – you're covering their extra staff and security – and I think, ‘why should my fans pay these heightened prices?’ So it’s been a sort of experiment. Having been at this for 25 years, none of these experiences feel particularly critical. As long as there’s an audience interested in my work, it’s truly enjoyable.
You often stay with fans, which must lead to some unique encounters?
There are certain fans we’ve stayed with over the years, and it’s always a pleasure to see them. Other times, it’s a bit of a gamble, as you never know where you might end up. But at times, people’s homes are fascinating. You’re introduced to their record collections—‘Oh, I didn’t know this album existed’—or their bookshelves, or you catch a glimpse into their lifestyles. It’s far more engaging than any hotel stay.
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The lyrics on your new album fluctuate between extreme confidence and deep insecurity. How freewheeling are you, really?
I usually describe it as a desperate process of trying to create any type of song, comic book, or illustrated project. If a strange idea hits me, I feel the urge to bring it to life and explore what it might become.
Going back to my first album and early cassette recordings from the late ‘90s to early 2000s, I believe each of my records covers a broad range of themes. And with this current one, similar to my other records, I don’t start with a defined concept.
The notion of titling this album ‘The EVEN MORE Freewheeling Jeffrey Lewis’ and recreating that album cover appealed to me, as it provided a sort of definition and context for the album in hindsight.
Did this idea stem from ‘A Complete Unknown’?
It's embarrassing how long this album took to release. The original photoshoot for the Dylan album happened in February ‘63, and since we recorded our album in early winter of 2023, I thought, ‘Oh, this marks the 60th anniversary.’ But by the time it all came together, it’s been a year and a half since then. So the Dylan movie was merely an accident of timing.
You still perform at open mics in the Village, so you have a unique perspective on that film – assuming you’ve seen it?
A friend of mine had free tickets to a preview screening at the Museum of Modern Art in New York, where the actors and director spoke afterwards, giving me an intimate view of the film. However, from my music nerd standpoint, you’re just waiting for something to go wrong to say, ‘aha!’ and enlighten the person next to you.
It’s amusing, though, as I attended the screening with Mitch Blank, a close friend and one of the world’s foremost Dylan archivists; even Dylan himself consults Mitch with questions. Afterward, I spoke with Mitch, who said, ‘I can point out 20 inaccuracies, but it was quite good.’ That seemed to be the
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A bohemian solo singer-songwriter, debuting fresh songs at the open mic cafes of Greenwich Village: perhaps the times aren't as different as they seem.