Alec Ounsworth Ends Solo Tour in Chicago

Posted on Feb 26th 2010 12:30PM by Tim Lowery
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Thursday night at Schubas in Chicago, a mustachioed, suit-wearing Alec Ounsworth -- of Clap Your Hands Say Yeah fame -- ended his first solo tour on an apparent high note. "This might be our best show of the tour," he said during one of the few times he addressed the crowd. "It's nice to be in Chicago," he continued. "It's like Philadelphia -- we're underdogs." After audience members objected to the Second City being labeled second tier, he explained, "No, it's okay. We're underdogs together."

That underdog label seems to be one he's comfortable with these days. Instead of coming out with another LP by his almost successful overnight, insanely-hyped project CYHSY, Ounsworth opted to release two very different albums last year -- a solo record featuring a cast of all-star New Orleans talent and one by Philly indie supergroup Flashy Python with members of the Walkmen, Dr. Dog and Man Man. Last night's set proved, if anything, that one thing he is set on is changing things up.

Backed by three members of Philly band the Teeth, as well as guitarist Matt Sutton -- a lineup that offered a more meaty sound live -- Ounsworth spent the night behind keys or standing at the mic, not strumming away at his guitar as CYHSY fans are used to seeing him. Opening things off with Flashy Python's 'Skin and Bones,' the singer-songwriter motor-mouthed through the wordy number, spitting out his nasally vocals at the audience. In a different vein, 'Modern Girl (With Scissors)' and 'Me and You, Watson' (both off his solo record) carried a latter-day Tom Waits stomp.

There were a few CYHSY songs thrown in the mix as well, namely 'Gimmie Some Salt,' 'In This Home on Ice' and 'Upon This Tidal Wave of Young Blood,' whose line "Sex and drugs and rock 'n' rock 'n' roll ... hey!" in this setting (with lap steel and an almost country feel) came off as sardonic, not the dance-inducer it felt like with his previous band.

Taking up the guitar for the only time that night, Ounsworth returned with the gorgeous, gentle encore 'Holy, Holy, Holy Moses (Song for New Orleans),' then walked through the crowd, seemingly happy, thanking people for coming.