Mark Jacob Lenderman, who performs as MJ Lenderman, has been in high demand in recent years. An Asheville, North Carolina native, MJ Lenderman has earned a name for himself in his own right. He is also the lead guitarist for Wednesday, which garnered even more acclaim following last year’s Rat Saw God. He has played with local musicians (Indigo De Souza) and even those just passing through (Horse Jumper of Love). That is not to mention his contributions to Waxahatchee‘s incredible Tiger’s Blood (2024), including a feature on the lead single, “Right Back to It”. At this point, he has enough irons in the fire to be dubbed an indie bladesmith.
MJ Lenderman’s rise has been meteoric. Pre-COVID, he was working in an ice cream shop and stealing away time for self-booked tours or on the road with Wednesday. His 2019 underrated self-titled LP, primarily influenced by Jason Molina, failed to make waves. Even when he had extra time during the pandemic, Ghost of Your Guitar Solo (2021) was mainly lo-fi and experimental. Granted, some of those tracks were never fully realized (“Live Jack” and “Catholic Priest” eventually came together on MJ Lenderman’s 2023 live album), but he made a significant jump on his next effort, Boat Songs (2022). Who knew there was a market for inane lyrics about boats and professional basketball?
MJ Lenderman keeps the momentum going with Manning Fireworks, which has as much to do with his lyrical witticisms as with his musical chops (he plays nearly every instrument). The record may not initially seem as fresh as Boat Songs. Still, every track resonates, including some standouts, and MJ Lenderman has stumbled upon a recipe for keeping forlorn hipsters thoroughly entertained.
Jerks seem to surface wherever you turn on Manning Fireworks, whether it is the sanctimonious, gambling-addled lecher who “once was a baby and now a jerk”, or the seminary student who flirts with the clergy nurse: “How many roads must a man walk down til he learns / He’s just a jerk.” These characters do not have priority over incivility because MJ Lenderman includes images of Lightning McQueen (yes, the Pixar car voiced by Owen Wilson) mowing over a deer in a blackout state (“Rudolph”), and somebody punching holes in a hotel room saying “All you had to do was be nice…to me” (“You Don’t Know The Shape I’m In”).
MJ Lenderman also paints a vivid picture of the down and out, those who deserve our sympathy despite themselves. In “She’s Leaving You”, he speaks to the recently abandoned: “You can put your clothes back on / She’s leaving you / No need to apologize for the / Things you do.” The track has a sorrowful and surprising singalong refrain, with Wednesday bandmate Karly Hartzman adding a striking contrast of beauty at the end.
With a few pen strokes, these hapless figures come to life like regulars at your local tavern. “Rip Torn” is the nickname for a fellow who got so torn up that he passed out in his cereal, a person who really needs to get back to the land of the living. Then there’s the guy (we can just assume these are all dudes, right?) on “Wristwatch” who has plenty of toys, including a fancy watch that relays all sorts of information, including the fact he’s on his own. The corresponding guitar solos churned out, whether intensive or pleading, articulate the urgency of their plight.
Another of MJ Lenderman’s devices is to include on the nose rock and roll references throughout his work. He draws connections to other music, sometimes obscure, such as John Daly (yes, the golfer) covering “Knocking on Heaven’s Door” on the previously released single “Knockin”. In that tune, he pays homage to Bob Dylan‘s original song with a repurposed refrain that fits the track’s tone. MJ Lenderman primarily connects with heavy metal on Manning Fireworks in his signature downtempo fashion.
“Wristwatch” begins with the lines, “So you say I’ve got a funny face / It makes me money,” causing listeners to wrestle with where they have heard that familiar line. Wouldn’t you know, it’s a lyrical blend from Quiet Riot‘s “Cum On Feel the Noize” (“So you think my singing’s out of time? / It makes me money,” and “So you say I’ve got a funny face? / I got no worries”). “You Don’t Know the Shape I’m In” has more in common with Silver Jews than the Band, whose classic song likely inspired the title but still requires active listening. The mere possibility of easter eggs in MJ Lenderman’s work makes for a thrilling listen for any rock historian.
“Bark at the Moon” takes its name from the Ozzy Osbourne thriller, where listeners learn that video games may be partially responsible for MJ Lenderman’s guitar prowess. He sings, “I’ve never seen the Mona Lisa / I’ve never really left my room / I’ve been up too late with Guitar Hero / Playing bark at the moon.” When he busts out a lone wolf cry, the sound more closely aligns with one of his idols, Warren Zevon, and “Werewolves of London” than the namesake track.
MJ Lenderman is most compelling when he can balance the trivial with the heartfelt. On the driving “On My Knees”, one can ignore the silly reference to Travolta’s bald head in favor of the Drive-By Truckers‘ guitar crunch and tidbits of wisdom sprinkled throughout, whether it be how vacation brings out the worst in everyone or how losing one’s thought is like a train on a burning bridge. Perhaps MJ Lenderman’s most relatable observation is, “Every day is a miracle / Not to mention a threat.” On the fantastic “Joker Lips”, with the note-bending, guitar-line response, he sings, “Please don’t laugh only half of what I said / Was a joke.” Through the haze of a morning hangover, one has every reason to believe him.
Manning Fireworks may not create the same level of enthusiasm as the unexpected Boat Songs, but MJ Lenderman remains equally convincing as a generational songwriter on this go around. He now comes across as an indie-rock and alternative country elder-statesman, which speaks volumes considering his youth. What’s most striking is that MJ Lenderman can stay on this trajectory for as long as he chooses, especially when one imagines the innumerable down-and-out characters and countless rock songs he has yet to cite.