Lizzy Grant @ Pianos
Black tights, a golden one piece body suit, cherry earrings, long silver nails, platinum blonde. Lizzy Grant lizzy_grantsparkles on stage.
“I’m in love with a dying man...” she sings, flirtatiously pursing her lips and batting her eyelashes as she croons for the small but intimate crowd that was lucky enough to have ventured to the backroom at Pianos last night.
After singing sultry tracks like “Kill Kill” (one of my favorites), “Yayo,” and “Mermaid Hotel” (which was wonderful), all off of her expected, though not confirmed, summer release, Kill Kill, this young Jersey girl performed with New York City’s Wes Hutchinson, who happened to have opened the evening with Cross Pollination before accompanying Lizzy on the final two songs of the evening. In all honesty, the mesmerizing Lizzy effect is much more present when she performs her own music with her own band, complete with classic jazz undertones all throughout. Her acoustic performance with Wes, although charming, doesn’t seem to fit with her boudoir nature. She would more easily be found in a dark backroom, somewhere in the city’s underbelly, perhaps a speakeasy during the prohibition, awash with racy flappers and coquettish cigar-smoking gentlemen. If one instrument were to be partnered with her, it would be a grand piano, not an acoustic guitar.
Resonant and delicate, Lizzy’s sound is timeless; her voice glamorous and arresting. Even so, there is a bewitching decadence about her music as she stands before the audience purring about Coney Island, America, “daddy” and “tiger.” Her look and voice come to us from another era. Kitschy and mimetic, her image is a collage of iconic American pop figures like Marilyn Monroe, Bette Davis, Barbie and pin-up girl Betty Grable.
Maybe she’d be interested in serenading our new Mr. President. His b-day’s coming up in a few months.