Kevin Bronson on September 19th, 2014

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Review and photos by Michelle Shiers

Twenty-eight-year-old Blake Mills wears many hats: guitarist, songwriter, producer, composer. Having just produced the forthcoming Alabama Shakes album, Mills is now touring behind his own album, “Heigh Ho,” released this week. Recorded at the legendary Ocean Way studio in a room also used by the likes of Frank Sinatra, Ray Charles and Brian Wilson, among others, Mills’ sophomore effort is an album featuring his slightly off-kilter style and and embrace of timeless and meticulous production, not to mention his guitar virtuosity – which Eric Clapton has called “phenomenal.”

Such prodigious talent sometimes gives way to obnoxious and self-aggrandizing guitar-lickery. Not so on Thursday night at the El Rey Theatre, where, backed by a stellar band and welcoming Fiona Apple as a guest vocalist, Mills was down-to-earth and relatable while no less the guitar wizard.

The venue was set up with seats, which gave the show a more intimate and sophisticated feel, and Mills opened the night with “If I’m Unworthy” from his new album. The crowd howled and whooped as the music and chords took shape. Sometimes light, sometimes heavy, Mills continually commanded the crowd’s attention with every flick of his fingers. Backed by Rob Moose on violin, Sebastian Steinberg on bass, Stuart Johnson on drums, Tyler Chester on keys and Griffin Goldsmith on percussion, the band slipped into a Joe Tex cover that perfectly complimented Mills’ slightly grainy croon.

Apple – Mills plays in her live band – joined in for a number of songs. Not only did her voice perfectly compliment Mills’, but he noted that she also contributed the female-perspective lyrics at the end of “Don’t Tell Our Friends About Me.” Though Mills’ songs revolve around the usual theme of relationships, he still manages to find new ground lyrically and musically. His songs are emotive and witty, his songwriting is melodic and fluid, and he plays the guitar as if it is an extension of himself. Sitting humbly on a chair with her legs tucked under her, Apple also sang on “Seven” – a country-tinged folk song. As Mills sang and played, Apple watched him and his hands with reverence.

One of the most gripping songs of the night was “Under The Underground,” which thumped with the rhythm of a slave-song and slapped with a sharp folky edge. It was musical brain and brawn in full force – the gorgeous slide-guitar, the earnest vocals, the egoless finger-picking. Closing song “Women Knows” burned slowly as he aimed to depart on a hopeful note: “But if I’m right, then this is how and when and where love starts.” Mills returned to the stage for a single encore song, another cover that had most couples swaying in each other’s arms to the folk sounds of being in love. The standing ovation proved nothing short of remarkable.