Carla Kihlstedt's Two Foot Yard trio took the stage at Joe's Pub in front of a full and enthusiastic house to present the majority of their first Tzadik cd, Two Foot Yard. An unusual format for what is essentially a pop trio, the band consisted of Carla Kihlsted on violin, Marika Hughes on cello and Shahzad Ismaily on drums and percussion, assisted on several numbers by Tin Hat Trio's Rob Burger on piano, harmonium and lap steel.

Kihlstedt introduced the set as a record release party, offering tongue-in-cheek that, as the songs were very short, they would be happy to repeat any that the audience wanted. The trio then proceeded to open with the catchy "Empty Cupboard," the first track from the cd, with Kihlstedt on vocals and Hughes on backing vocals. As promised the pieces were short yet plentiful: vignettes of odd images, melodic and light on the surface yet filled with subtle and powerful depth. Kihlstedt's vocals are an interesting mix of charm and expression, at once cute and then husky, breaking into wordless vocalizations at times, or whispered and sung as on "Flinch," which she has also recorded with Sleepytime Gorilla Museum, the loud, theatrical rock group with whom she also plays. At times I was strongly reminded of Amy Denio's vocal approach. Though Kihlstedt is clearly not emulating any style, she is perhaps influenced by her fellow bay area performer.

As enjoyable as the music performed was, Kihlstedt's lovely stage personality and banter between numbers enhanced the show that much more. She related a story, an excerpt from a letter to her parents at age 7 where she apologizes for irritating them but "the Mozart was very, very long and got me bored." Between songs she provided background on many of the songs, including the "secret" name for "Flash Flood" ("Newsman") which provides a journalistic perspective for the song, or the inspiration for "Patchen" based on the work of artist Kenneth Patchen. The intention behind "Gravity" is explained partially as Kihlstedt's childhood belief that large buildings slowed down the earth, and that "Trampolina" is about a dark and somber existential little girl (who Kihlstedt insisted was not herself).

Her stories embellished the songs, giving them additional character and meaning, in none more so than a recent piece inspired by the poems of ee cummings, a song about the rape and pillage which she said is so often unspoken of when reflecting on war. Here was perhaps my only criticism of her songs, where the sing-songy aspects of Kihlstedt's vocals didn't seem to do justice to the dark nature of the lyrics. Still the piece was one of the more extended numbers performed, breaking into a rigid beat and ending with spatial violin techniques as Kihlstedt intoned wordlessly on top, making the piece poignant and reflective.

The group was then expanded by bringing up Matt Moran and Jenny Scheinman on violins to make up the 'Two Foot Yard Orchestra' as they played through the Carter Family song "50 Miles." This was the only extended and perhaps conventional number of the set, added specifically for live performance to provide a little breathing room for the audience. Led by Kihlstedt on viola, the song, a metaphor for the amount of space one will be granted after the cramped existence of this physical world, was a relaxed piece with a solid groove making an uplifting and spiritually satisfying piece. "Flinch" and "Octopus" ended the set, the latter the most energetic number of the set with Kihlstedt losing several hairs on her bow to her dynamic playing. Kihlstedt is an honest and talented perfomer, and the warm applause and cheers from the full house reflected that.