The Black Keys promote fundamental blues-rock through its barebones on-stage performance. No synthesizers or autotune are necessary, just a punch to the face of 21st century rock ‘n’ roll.
After forming the band as high school friends in Akron, Ohio in 2001, the duo spent years touring and promoting its lo-fi garage-rock music across the globe. Dan Auerbach, guitar and vocals, and Patrick Carney, drums, finally reached mainstream success after teaming with Grammy-winning producer Brian “Danger Mouse” Burton for their 2008 album, “Attack and Release.” The group maintained its relationship in each of its two albums since. The 2010 release, “Brothers,” sold over 73,000 copies in its first week and won three Grammy awards. The 2011 release, “El Camino” amassed over 206,000 copies in its first week and has received mass-acclaim.
Droves of fans — most of which were aging scenesters — filled the US Airways Center on Tuesday night to witness the band. With the Diamondbacks coming off of their season, and the Suns about to begin their own, the heartbeat of downtown Phoenix has recently been left to concerts and special events. Tuesday's performance served as a transient kick to the pulse of Jefferson Street by filling clubs and restaurants with tattooed groupies and hipster dads all night long.
The night of dynamic duos kicked off promptly at 8 p.m. with Tegan & Sara. The Canadian twin sisters engaged the dedicated fans that arrived early to catch them play. Although their performance was spirited and jovial, it had a hard time living up to the subsequent Black Keys performance.
Around 9 p.m., with the backbeat from GZA's “Liquid Swords” blasting, and the house lights dimming, Auerbach and Carney took to the stage. A bassist and instrumentalist backed the duo for most of the set, but received little attention or lighting. With cell phones out and hands up, the crowd eagerly cheered on the raw introduction in the first song “Howlin' for You.”
Carney and Auerbach dressed fairly casual. Auerbach took the stage in a t-shirt, jeans and a white jacket. Carney also donned a t-shirt and jeans along with his signature Buddy Holly eyeglasses that did not stay on for long.
Behind them was a giant video screen flanked by the silhouettes of Carney and Auerbach, and surrounded by various types of lights. Like the band’s performance, the podium was sturdy, straightforward and entertaining.
Whether the audience was clapping during the song “Run Right Back,” or screaming during the dramatic breaks in music, it was surely occupied during the 85-minute set. Not everyone may have been jumping around like the boldest of supporters, but the entire crowd was moving in some way.
The barrages of sound hit the audience like crests of waves, and the performance of the hit single, “Gold on the Ceiling,” especially stood out. The infectious anthem began with a slow and patient guitar introduction by Auerbach while the video screen showed film from what looked like a road trip in the eyes of the band.
The feats of Auerbach were a highlight of the evening as he gave a bold and soulful performance while Carney thrashed on his multicolor drum set that harkened the drum stylings often heard in 1970s rock.
The visual elements of the show added to the atmosphere by providing unorthodox images and exceptionally close camera angles. One particular shot zoomed in on Auerbach closing his eyes as he belted out the soulful lyrics in “Strange Times.”
The Black Keys had many concertgoers raising a glass to “Tighten Up,” in which the video screen displayed a time-lapse video of traffic. After concluding the single, the crowd remained vigilant for more music.
After five minutes of absence, Carney and Auerbach returned to the stage joined by a suspended disco ball above them that was roughly the size of a smart car. A second disco ball above the sound booth in the rear of the arena created a spectacle of light as the duo made its finishing touch on the evening with the song “Everlasting Light.” The arena was filled with hues of purple, blue, orange and yellow as Carney's masterful beat held steady. The lights provided by the disco balls complimented the song well.
Auerbach provided a prelude to the final song, “I Got Mine,” as he gestured at his childhood friend beside him and said, “This is Patrick. I'm Dan.” When the last note was struck, the crowd reluctantly filed up the stairs and relished in the performance as they shuffled out of the arena.
Unfortunately, the basketball arena was not filled anywhere near the capacity the band deserved. It makes one do a double take to artists like Justin Beiber, who provide sold-out audiences with vomiting displays, while candid music about love and other vices fails to match the same appeal.
Unlike many other high-profile rock bands of the present and past, the humble duo is not overtly cocky about fame and fortune. Auerbach and Carney's ability to maintain honesty as musicians allows them to draw in each member of its audience.
The performance made no concessions or reservations. Instead, the set of brash blues-rock reassured the audience that the night belonged to the music of Auerbach and Carney, so deal with it.
Reach the reporter at mbobman@asu.edu
