CALGARY — There are things you ‘simply don’t do’ when you have unlimited artistic freedom. You don’t put yourself on your album covers because it’s all about the music. You don’t put too much of yourself in the lyrics and you hand-wave away questions about them by saying that they’re “up for interpretation.” You don’t, for the love of God and everything holy, go and work with Urban Outfitters or voice an imaginary DJ in a Grand Theft Auto game. You don’t collaborate with Levi’s Jeans, remix Lady Gaga or license your music to New York Fashion Week runway shows. You don’t contribute the standout track of your new album to a schmaltzy teen romance movie (Paper Towns, starring Cara Delevingne and Nat Wolff, is in theatres now). You’re an artist, you’re free to do anything those anonymous Internet commentators and record company committees approve of.
Nobody told Twin Shadow, a.k.a. George Lewis Jr., these unspoken “rules,” or perhaps he doesn’t give a proverbial shit because he is an artist. He slips between the worlds of indie and pop so effortlessly he’s carved out a unique, difficult place for himself in modern music. It feels strange to refer to somebody as clearly on the inside of popular culture as Lewis as an “outsider,” even when his biker jackets and (now abandoned) Morrissey croon ‘n’ quiff scream it, but Lewis is alone. He seems to want it all, commercial success and artistic integrity, either because of an outsize ego (as his critics allege) or because he’s far enough removed to be able to ask “why can’t pop be art? Why can’t art be commercial?”
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