photo: Kelly Swift |
If anyone measured the Nashville-based rock band’s career pulse, it would be considered strong by most accounts.
Last fall, seventh album “WALLS” - an acronym for We Are Like Love Songs - debuted atop the Billboard 200 (a career first). Meanwhile, “Waste a Moment” reached No. 1 at alternative, rock and AAA radio. The single still crowns the latter format chart after three months.
Working with new producer Markus Dravs (known for his work with Arcade Fire, Florence+the Machine and Coldplay) on “WALLS” rejuvenated KoL. California had a subtle influence too: the Followill brothers and their cousin recorded in LA after the previous four releases were done elsewhere; the state and West Hollywood are even name checked in a couple lyrics.
Obscured by dark lighting, Kings of Leon kicked off the 100-minute, 25-song concert in Inglewood, Calif. with a moody “The End,” off 2010’s “Come Around Sundown.” It was driven by Matthew’s always captivating reverb guitar squalls. Then the band went straight into “Slow Night, So Long,” with Jared’s nimble basslines leading the charge.
photo: Kelly Swift |
Quick mid-2000s U.K. hits like the Southern style chugging rocker “Molly’s Chambers,” a chiming “The Bucket” and frantic “Four Kicks” were pure rushes of adrenaline. But the more nuanced recent material proved equally strong. A jaunty “Eyes on You” was heightened by auxiliary musician Liam O’Neil’s synth washes and a soaring end chant. The haunting, six-minute-long “Over,” about a rock star suicide, saw Caleb veer from monotone to anguished emotional singing as a gothic soundscape whirred behind him.
Kings of Leon did big hit “Sex on Fire” earlier in the set than past tours and the general admission pit section went crazy. Then a red curtain closed for a fine acoustic-based segment. Caleb appeared alone for spiritual-tinged “The Runner.” He was rejoined by the guys on an earthy “Comeback Story,” which was an excellent display of their harmonies.
Speaking of backing vocals, drummer Nathan, sidelined by pneumonia last week that caused two shows to be postponed, seemed no worse for wear. On the title track to the contemplative “Walls,” Caleb played acoustic guitar to a drum machine before the other members came in for a dynamic finish.
photo: Kelly Swift |
The mildly political “Crawl,” from 2008 (key lyric: “the reds and whites and abused/the crucified USA/as their hypocrisy unfolds/hell is truly on its way), had old school punk rock iconography on the screens and suddenly took on new meaning in today’s world.
For the final stretch, the driving “Supersoaker” and majestic “Use Somebody” saw the band forgo an encore and finish the night on a high note.
A version of my review originally appeared at ocregister.com
Fri, April 28
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Chula Vista, CA
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Sleep Train Amphitheatre
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Sat, April 29
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Phoenix, AZ
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Ak-Chin Pavilion
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Tue, May 2
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The Woodlands, TX
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Cynthia Woods Mitchell Pavilion
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Thu, May 4
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Dallas, TX
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Gexa Energy Pavilion
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Sun, May 7
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New Orleans, LA
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New Orleans Jazz and Heritage Festival
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Tue, May 9
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Austin, TX
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Austin 360 Amphitheater
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Thu, May 11
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Atlanta, GA
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Aaarons Amphitheatre
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Wed, May 17
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Raleigh, NC
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Coastal Credit Union Music Park
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Fri, May 19
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Virginia Beach, VA
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Veterans United Home Loans Amphitheatre
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Sat, May 20
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Holmdel, NJ
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PNC Bank Arts Center
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Wed, July 26
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Saratoga Springs, NY
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Saratoga Performing Arts Center
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Fri, July 28
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Mansfield, MA
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Xfinity Center
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Sat, July 29
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Uncasville, CT
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Mohegan Sun
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Tues, Aug 1
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Wantagh, NY
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Nikon at Jones Beach Theater
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Wed, Aug 2
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Darien Center, NY
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Darien Lake PAC
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Sat, Aug 5
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Syracuse, NY
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Lakeview Amphitheater
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Sun, Aug 6
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Bethel, NY
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Bethel Woods Center for the Arts
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Wed, Aug 9
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Toronto, ON
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Budweiser Stage
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Fri, Aug 11
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Cincinnati, OH
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Riverbend Music Center
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Mon, Aug 14
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Clarkston, MI
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DTE Energy Music Theatre
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Wed, Aug 16
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Cuyahoga Falls, OH
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Blossom Music Center
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Fri, Aug 18
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Burgettstown, PA
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KeyBank Pavilion
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Sat, Aug 19
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Noblesville, IN
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Klipsch Music Center
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Thurs, Aug 24
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Mountain View, CA
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Shoreline Amphitheatre
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Sat, Aug 26
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Quincy, WA
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The Gorge Amphitheatre
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