LA Weekly

Inara George, in a ’60s mini–shift dress with blousy gossamer sleeves, fluttered her false eyelashes as she sang and strummed softly on her bass guitar, a headband over her bangs and bobbed hair. She has the kind of crystal-clear, honey-toned voice that many singers would die for. Meanwhile, Greg Kurstin, in a crisp suit and tie, sat at his orange-painted Wurlitzer tickling out the tunes. The pair known as the Bird and the Bee were joined onstage at the Troubadour, for the release of their first full-length CD, by three backup singers — a blonde, a redhead and a brunette — all fresh-faced with ribboned pigtails, sweetly dressed in identical pale-orange baby-doll dresses. Something about the old wooden stage, the backup singers, the stylish look of the production was very Prairie Home Companion meets ’60s Brazilian electro-pop jazz. The band, known for its psychedelic, Burt Bacharach–inspired sound, was very put together, unusually so for something that started out as a mere back-burner project.

L.A. Fashion 2007 King Jeremy the Wicked Around the world and back with designer Jeremy Scott Hot As Folk The Chapin Sisters— bringing the acoustic sexy back OK Go Dress Me Getting off the jeans-and-T-shirt treadmill Project Comeback An exclusive first look at Jeffrey Sebelia’s post–Project Runway collection

A lot of that polish comes from statuesque Italian designer Valerj Pobega, who happened to catch the band during their residency at the Silverlake Lounge.

“I thought they were fabulous,” says Pobega, raising a Sophia Loren–esque brow. She went home that night to check out their Web site and was so pleased to see them all dressed up in ’60s clothes. “The ’60s are my main inspiration, so I contacted Inara and Greg and told them that if they ever needed help, I’d be happy to do it.”

Pobega, who takes styling projects on a case-by-case basis, designs a line called KG363, a one-of-a-kind mixed-vintage collection that is sold at EM & Co., on Third Street. George’s dress and the backup singers’ baby-dolls at the CD-release show were the work of Pobega. That show also included a first-ever dress change for George so they could squeeze in one more Pobega design. It was a shimmery black frock with a plunging ruffled neckline.

“I had never done a costume change before,” says George, who now sits Indian style, dressed in skinny jeans, ballet flats and an orange sweater. She laughs because the notion is still foreign to her. It’s two weeks after that Troubadour show, and we’re hanging out in Kurstin’s new house in the Los Feliz hills. It’s modern and clean, with big glass windows and a high swank factor.

“When you go to a Bird and the Bee show,” explains George, “it’s kind of fun and the presentation is fun. I’d prefer to go to a Bird and the Bee show rather than one of my solo shows.”


Three years ago, producer/musician Mike Andrews introduced the pair, suggesting that Kurstin, who’s played with lots of artists, from Beck to Gwen Stefani, lay down some tracks on George’s record All Rise. Musically, it was love at first listen. After their very first rehearsal, they went through every old standard they knew.

“It’s fun going through songs,” says Kurstin, easing back in his chair behind the mixing board in his home studio. “It’s like this other language you know, and you converse during a sing-along.”

It wasn’t long before Kurstin started playing shows with George. “At the end,” he says, smiling, “we’d sneak in a standard, and that was really fun. We’d do a Prince song or an interesting cover. We were recording at the same time, but not really realizing we’d have a record out.”