MiddleKid: by Geoffrey Lewis
MiddleKid: by Geoffrey Lewis is a 6-track EP that explores the story of grief. The style is pleasant on the ears, blending a range of influences that make it accessible to a wide audience. Listeners who enjoy pop-rock like The Knack, folk-influenced acts such as The Lumineers or Jason Isbell, and contemporary ballads in the vein of Nickel Creek will find something to love here. The music and production are high-quality, and the emotional rawness of the lyrics has the power to resonate deeply.
The EP kicks off with “Kinky D,” an upbeat rock song that explores the denial stage of grief. The punchy bass and guitar tones provide a solid rhythmic foundation, while layered electric guitars add interest throughout the choruses. The stuttering “d-d-d-denial” is reminiscent of The Knack’s “My Sharona.” A dreamy bridge offers a striking contrast to the punchier sections, with the bass guiding the harmonic transitions beautifully. As an opener, “Kinky D” grabs the listener’s attention and sets the tone of Lewis’ style.
“If Only” follows, which starts out markedly more somber and delicate. Representing the bargaining stage of grief, this track is full of “if I could” statements, such as “if only I could find the words” and “if I could right the wrongs and make them better.” Listeners might also enjoy the references to various iconic pop-culture couples, such as Bonnie and Clyde, Peter Parker and Mary Jane, or Kurt Cobain and Courtney Love. Despite its melancholic opening, a low bass slide quietly introduces the rhythm section. The chorus blooms with strings that sound joyous, like yellow daisies in a field on a warm spring day with a light breeze. The piano and bright chimes feel like sunshine peeking through the clouds. “If Only” is a bittersweet nod to regret and grieving a lost future.
From this brighter sounding place, the next track, “Fester,” dives headfirst into the anger stage. Tonally darker, the track starts with a rich acoustic guitar and gang vocals that bring to mind a grittier Lumineers. Lyrics like “lifelong this dissonance; my cognitive experience” and “my bleeding skin is festering (again)” evoke internal chaos and unresolved pain. The lyrics in the chorus — “I wait for him to come” — spark questions. Is “he” a personification of anger? A spiritual reckoning? I am not sure. Either way, the track still leaves a strong impression. The bridge builds with intensity, matching the lyrics, and closes on a high with crashing cymbals and emotional urgency.
The fourth track, “Ashes,” continues the emotional descent, symbolizing the depression stage of grief. The lyrics “Lifeline just out of reach / I’m losing hope; I’m sinking deep” from the preceding “Fester” gave some transitional emotions between anger and depression, so these two tracks emotionally flow together seamlessly. “Ashes” is the only track on MiddleKid: that features a trumpet, which Lewis utilized often on his previous album Re:Unions. On this EP, it makes “Ashes” stand out, but also harkens to his previously established sound. (Perhaps MiddleKid: marks a transition away from those ska and Muscle Shoals influences?) The lyrics of “Ashes” describe classic depressive imagery: darkness, isolation, feeling trapped. Yet the chorus brings a tonal and thematic shift toward optimism, with lines like “wait for me” and “then we’ll turn it around,” suggesting the beginnings of healing. References to matches and gasoline may initially seem destructive, but they ultimately serve as metaphors for rebirth — a concept confirmed by the closing phrase “from these ashes,” referencing the myth of the phoenix.
“Amsterdam,” the penultimate track, deals with regression and nostalgia. Healing isn’t linear, and this track captures that truth. Sometimes, just when we think we’re moving forward, a memory strikes and sets us reeling backwards. And that’s okay. There’s beauty in remembering. A rich textural blend of strings — whose staccato high notes give a cinematic resilience to the grieving journey (and are noticeably more orchestral and less folky than on his previous project) — along with a mandolin and the drums build momentum, with one standout moment being a sudden drop to dry vocals and quiet strings before crashing back into a fully layered finale. It’s dynamic, emotionally charged, and perfectly placed within the arc of the EP.
Finally, “Back to Sender” closes the project with guest vocals from Zoe Yungmi Blank. This track represents acceptance, mixing bright instrumentation with bittersweet lyrical content. A poignant pause before the phrase “but you’re gone” lets the weight of loss settle in. The line “when all the promises are returned back to sender” circles back to “the measure of a man is the promise that he keeps” from “Amsterdam,” reinforcing the EP’s quiet cohesion. The lush choir at the end feels communal and comforting — grief, after all, is a shared human experience. The quiet lull that ends the track feels like closing the cover on a deeply moving novel.
In short, MiddleKid: is a tender and thoughtful exploration of grief, crafted with both emotional honesty and musical finesse. Geoffrey Lewis doesn't just map out the five stages of loss — he lets the listener feel each one through clever songwriting, genre-blending instrumentation, and intentional sequencing. It’s an EP that offers comfort, reflection, and catharsis, whether you're deep in the throes of sorrow or simply revisiting precious memories. While MiddleKid: leans more pop-rock and alternative than his previous release, Re:Unions, Lewis’ core sound remains intact — soulful, reflective, and resonant. MiddleKid: is an EP that will speak to the hearts of many listeners.