Rilo Kiley at Shepherd's Bush Empire

Rilo Kiley

Matthew Caws

Shepherd's Bush Empire, 3 June 2026

I was back again to see the reunited Rilo Kiley for a second time, this time at the much smaller Shepherd's Bush Empire, and, unbelievably, night two of their London shows was even more incredible than the first. The whole band were just radiating joy and good feeling and the whole thing felt so much looser and even more special. I can't deny, I was absolutely floating at the end of this show!

After the tube strikes the day before I can't tell you the pleasure of just getting on a train and arriving at my destination in plenty of time, so even though Shepherd's Bush is much farther away for me this was a much easier journey. When I arrived they weren't too many people in the queue and I got chatting to some truly lovely fans who made the wait a pure pleasure and the time flew by. 

I once again got a spot in front of Jenny Lewis (of course) and I was pleasantly surprised at just how small Shepherd's Bush Empire is. Even though I have been to many shows here in the past I was shocked to learn that the last time I was actually at the Empire was back in 2019 to see none other than Jenny Lewis herself! 

I really enjoyed Matthew Caws live set the night before, so I was happy to see him back again tonight, although I will say the audience was a little more talkative this time, but he seemed to take it in good stride. The setlist was exactly the same, and Caws even told the little story about trying not to do two things at once after getting distracted and nearly letting the bath overflow and flood his house, albeit a briefer version, but somehow there was something warmer and more enjoyable seeing him this time, maybe because we were more familiar with these versions of the songs. 

The cover of The Magnetic Fields' Strange Powers went down particularly well, as the people around me had just been talking about seeing them at the Union Chapel recently, but for me it was new song I Only See You And Me, a hopeful song about division in America right now, but so insanely catchy and such a beautiful sentiment. Caws said he had written it a while back but it hadn't made it on a record yet but he really needs to get cracking recording it as it's such a good song. I still haven't managed to get it out of my head!

He also played the Minor Alps song Buried Plans again, which I was so pleased to hear once more, and it sounded great with its rhythmic backing track, but it got interrupted when Caws saw a woman in distress who looked about to faint. He stopped the song went over to the edge of the stage and asked how she was and made sure that the security got to her and got her a drink. Thankfully she was okay and didn't have to leave, but I must say I was impressed at how quickly Caws noticed that something was wrong and drew attention to the situation and made sure she was okay before continuing his set. Everyone I spoke to who has met Caws has said what a lovely man he is and that was certainly evident tonight.

He returned to his microphone, sadly abandoning Buried Plans, but ended his set with a lovely version of Always Love, another song with a positive message, singing "always love, hate will get you everytime." After these two shows I am definitely a big fan of Matthew Caws now. 

We were all itching to see what Jenny Lewis would be wearing tonight and she didn't disappoint, arriving on stage in a super cute short pink dress covered in little love hearts. In case you're wondering, Blake abandoned the suit this time in favour of a shirt or jacket (or maybe a shacket?) for a more casual but cool look, while bassist Pierre de Reeder sported a red shirt tonight.

Once again, Lewis picked up her bass and things started with The Execution Of Things. Because the stage was lower and I was closer this time, even though I was in the same spot as last night (I think the Empire must be about half the capacity of the Roundhouse), I really felt like I was in the middle of the action and it just sounded and felt so much more dynamic and exciting.  

The stage wasn't quite as big as the one at the Roundhouse so instead of there being three big sets of lights behind them, there was only one big backdrop of lights behind the drums this time, but what the show lost in spectacle it certainly made up for in the feeling. The band were also all closer together, which meant that while Lewis couldn't strut around the stage in the same way, there was also an even more pronounced feeling of camaraderie, which made this show feel even more special. In fact the last time they played London back in 2007 was at this venue so in a way it really was some kind of homecoming tonight.

Lewis again ran to the other side of the stage to play keyboards on Spectacular Views, but again as the stage was smaller, she didn't feel too far away. It was also great to feel and Sennett's cool guitar solos up close, as they went into the noisy, feedbacking end of the song, with Lewis singing through her small purple megaphone as the thumping drums eventually returned.

Next Lewis picked up her electric guitar, and they played a quite moody version of Paint's Peeling that built into a rocking ending with Lewis belting out "hey, how could you love me this way?!" It's interesting that the first three songs were from The Execution Of All Things and later they would play three more, making it the most represented album each night. It may be because it recently got an anniversary re-release but it's clear it's really well loved and every song from it tonight sounded like an absolute classic.

For instance, The Good That Won't Come Out, I think had everyone singing along, from the first almost whispered verses, to the final big chorus, where the whole band let loose. 

Switching to Under The Blacklight material, Lewis was back on her bass bringing us the funky The Moneymaker, getting everyone bopping along and Sennett providing us with that sleazy guitar groove. It sounded so good. 

I once again was thrilled to hear the Lindsey Buckingham-esque Dreamworld, the vocal interplay between Sennett and Lewis recalling Fleetwood Mac during the Tango In The Night era. It was groovy and smooth and I absolutely loved it. I feel so lucky that I got to hear it each night and I don't understand anyone who doesn't love Under The Blacklight and its cool, 80s pop flavours. 

I was so happy we got five songs from this underrated classic of an album, like Close Call and it's slightly nautical vibe and toe-tapping beat as well as the pure, feelgood pop of Breakin' Up, with Lewis dancing around the stage tapping her cowbell putting Will Ferrell to shame! Later Lewis popped behind her keyboards again and sang the bright and melodic Silver Lining. Every single one a gem.

Of course there was lots more More Adventurous too starting with the girl group loveliness of I Never with the crowd singing along the harmonies to this one, Lewis' voice sounding so pure, emotional and effortless. 

It's A Hit still beautifully combines Lewis' biting lyrics with a sugar sweet delivery that delivers chills and had everyone screaming "it's a hit!" and joining her in on the singalong "it's a holiday for hanging" ending. 

As much as I love seeing Lewis playing all the different musical instruments she plays (honestly, how talented is she?), it's also a joy to see her just take the microphone and wander the stage, often going right to the edge of the stage to sing directly to the audience as she does during the gentle Does He Love You? which slowly swells into it's emotional and rockier ending, with Lewis bending her head back to belt "let's not forget ourselves good friend!", reaching her hand out in the air, as the crowd joined in on the line "and your husband will never leave you for me!" She then grabs a tambourine and runs over to the drums to do her best Stevie Nicks tambourine dance as Sennett playing the final guitar solo. It was glorious.

Ripchord sees Sennett playing his semi-acoustic guitar, for the 20s-sounding bop, and has Lewis and Reeder have their little moment again, doing a little dance together, before the rest of the band finally joins back in, Harrison Whitford this time providing the guitar solo and Lewis once again tapping away on the tambourine with a big smile on her face.

I think the final three songs of the main set really were the big hitters. Starting with the joyful With Arms Outstretched, I think the crowd singing was as loud as the actual band, and at one point Lewis walked to the edge of the stage and held out her microphone for the audience to take over. Because she was so much closer to the crowd tonight, she actually grabbed one lucky chaps hand  the second time she did this and held onto to it while still holding out the microphone while the audience loudly and joyfully sang the song and Lewis just swayed along. Eventually she let his hand go but encouraged us to continue singing, laughing as we all stretched out the "moooove!" part until she put out her hand in a stop motion. It really was a wonderful moment.

Lewis grabbed her guitar again for the last two. A Better Son/Daughter has always been a fan favourite because it's great on record but it really comes alive on stage, slowly building to its marching band beat until the whole band joins in and everyone screams the "sometimes when you're on, you're really fucking on!" line once again. Believe me, it never gets old, it's always a fantastic moment.  

Portions For Foxes always provides a triumphant ending, I mean it's an absolute banger of a tune, and it was my introduction to the band all those years ago. Again, everyone was singing every word and it was also great to see Lewis get the chance to really rip on the guitar herself, on the extended outro (after a false ending!) and giving the cool final guitar solo.

The night before With Arms Outstretched was in the encore but it was played during the main set this time, so I think we were all hoping for something different (especially since their sets tend to stay the same) and we certainly got it when they returned to the stage. "Jenny had a dream," Sennett told us before they started again. "And she woke up and she DMed us and she said, hey guys, I had a dream we should play this song, and we haven't played it for a while, so, shall we?" They then started to play Let Me Back In, which they only played once last year and only a handful of times in the early aughts, so it was something really special and rare.

This sweet and nostalgia love letter to Los Angeles seemed so heartfelt and spontaneous, Lewis at times looked almost overcome with emotion and then would break out in a big smile. There was something so raw and loving about it, that although it was a homage to their hometown, it also felt like a little tribute to us too. When someone in the crowd shouted "thank you, that was so special thank you for that!" I think we all felt it too.

After Lewis said that she had listened to a podcast the night before about Sid & Nancy, "and just, poor Sid... What an incredible story, if you don't know the whole story, it's really sad and it's really beautiful and such a bummer. And that's why I wanted to play that song, that's for Sid." Sid was a London lad, so I guess it really was for London, or at least one of its sons.

Once again, Sennett introduced roadie Topher, saying "some people were born to sing, some people were born to tell jokes and some of the people who were born to do these things don't get a chance to. And our tech was born to fucking dance!" This led to people chanting Topher's name as he took to the stage behind Jenny Lewis and the opening chords of Frug started, with Lewis doing all the moves in the song and Topher doing them too and more! 

The final song was Pictures Of Success, the sole Take Offs And Landings track, which again was worth the wait. Starting off dreamy and moody, before building up to its soaring finale, with Lewis using her cassette player the end to play dialogue into the pick-ups of her guitar, as she sang the anthemic outro to the song. It felt like the jamming at the end went on for much longer this time, almost as if they didn't want to leave the stage, but maybe it didn't, it could be that I was just enjoying it all so much and was lost in the music.

The whole show was just pure magic. There was such a wonderful good feeling in the air: everyone in the crowd knew it was special and you could tell the band felt that way too. It was so good to see them all getting on so well, laughing and having little moments with each other.

What a joy to finally see the reunited Rilo Kiley, it really was everything I had hoped it would be and more. Back when I last saw them in 2007, I don't think I really appreciated the experience but this time I definitely did and I soaked up every moment. I'm just thankful I got the chance to do that and to remember just what made me fall in love with Jenny Lewis and Rilo Kiley in the first place.