Orlando's Emily Reo is everybody's opener. She's played with Cold Cave, Casiotone for the Painfully Alone, Austra, Washed Out, the list goes on, I'd imagine, ever since she left our city and moved to New York. But now, she recently sealed the deal on her sophomore album, Olive Juice, and she caught the eye of that perspicacious website Pitchfork (hey, just using a word they'd understand), and they gave her new album a solid 7.0. Sharing a label with Hundred Waters (Elestial Sound) and part of the Tiny Waves-associated FMLY collective, she's grown in prominence, and you could say it was only a matter of time before a larger audience was truly introduced to her mellow synth sounds. But that does a discredit to her steadfast commitment to reworking her best songs and mindfully and creatively approaching her songcraft. If you haven't heard the album by now or if you missed her at Total Bummer 4EVER, here's a chance to get up to speed:
The first time I saw Emily Reo perform, she was opening up for the Mountain Goats, or really, I guess it was John Darnielle playing a solo show after the Mountain Goats canceled. Anyway, Reo and the sound guy seemed to be at odds over her equipment, and it seriously cut into her set. Her original songs suffered because of the potential interest she could've won them during Darnielle's sold out show, but I remember she bounced back and ended her set on a Beach House cover that made everyone in the room forget all the technical difficulties, and she ultimately succeeded in warming us up, like a dedicated opener should. (Apparently, this is still her strong suit. According to her Pitchfork review (and Bandcamp), she's also taken on Built to Spill and Neil Young.)
It's always good to see more artists from Florida rising to national attention (even if they had to do time in Brooklyn to get there; we understand, sorta). If you don't have time to listen to the whole album right now, do yourself a favor and play "Peach" at least. But don't be surprised if you get roped into the next track and the next track and the next track, etc.
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