REVIEW: Kings of Leon, Phantogram rouse fans at Rogers Place in Edmonton

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American rockers Kings of Leon made Edmonton’s Rogers Place pulsate under the stringed multicolour Edison bulb chandelier.

“I was not expecting this. This is Monday night? This might be the best crowd of the whole tour,” frontman Caleb Followill told screaming fans.

“What a good environment… If every night was this good, we’d never leave the road — I promise,” he said, adding a heartfelt thank you.

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Brothers Caleb, Nathan, Jared Followill, and their cousin Matthew Followill comprise Kings of Leon, named after their grandfather. You could be forgiven for thinking Beatlemania was unfolding for most songs, with the same pitch and decibel of shrieks emanating from the audience (especially as the bass kicked in on Ballerina Radio). Their fans truly adore them.

The Can We Please Have Fun tour didn’t really fit the vibe the band presented. Instead, they seemed more focused on being earnestly professional — a smart casual cohesive look complete with Caleb’s blazer and rigid stance. They didn’t waste much time with small talk or stories, mainly sticking to the classic concert script of “How are you doing?” and “We’re excited to be here” in their limited interactions. They had a job to do and no time to spare — and the crowd was right there with them. It was a good ol’ dynamic rock show chugging along without chatter.

Caleb has such rich, soulful, distinctive qualities in his raw voice. Sweat trickled down the mustachioed singer’s face as he furrowed his brow giving it his all.

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Three white-clad camerapeople shot up-close handheld live footage (think cool, low-res, raw VHS vibes) of the musicians for Razz.

“You guys like to dance? Well, let’s see,” Caleb said before launching into Sex on Fire, the audience screeching at the first few strums, the floor thundering with everybody on their feet and the whole arena singing backup.

Following the incredible drum rhythm of Beautiful War was M Television — do you remember overhead projectors from math class? These boys do, with screens featuring a shadowed hand flashing transparent sheets of marker-written lyrics. Screaming took over the mellow intro to Milk as the crowd clapped along.

For its song in the city segment, Kings of Leon played Talahina Sky “exclusively for you.”

“No one else on the tour is going to hear this song, and you know what, it could be the last time we ever play it,” Caleb said.

“We’ve never even recorded this version. Anyways, we’re probably going to f*** it up.”

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Find Me was lovely, loud and unrelenting. Atmospheric and moody Seen had an easygoing steady drum and a wind chime effect near the end. Uproarious applause for Closer, a song with a cool off-kilter synth rhythm leading up to a searing guitar solo. Caleb kicked stray beach balls back into the crowd during a vibrant Rainbow Ball.

Kings of Leon finished the show with 2008’s Use Somebody, the song thousands were waiting for and singing in unison.

In a heartwarming moment, La Bamba blasted from the speakers as the band left. Edmontians know how meaningful and sweet that is.

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This was a show for couples, exemplified by a cute pair who stood the whole concert, his hand not leaving her waist (even when people had to crawl over them to their seats) for the roughly two-hour show.

Caleb acknowledged opening act Phantogram, saying it’s a treat to be on tour with them: “We’re big fans of theirs.”

Phantogram’s strobing frenzy

New York electronic rock duo Phantogram’s 45-minute set was full of Sarah Barthel’s flawless, mesmerizing vocals soaked in reverb and simple yet disorienting graphics with vivid colours tailored to each track. She is the glue, the special sauce. Her short hair whirled around in the strobe lights, freeze-framing the spectacle. The flashing lights amplified the crescendos of their captivating repertoire.

“Let’s f***ing get wild on a Monday, shall we?” she said to the cheering crowd.

Barthel experimented with vocal riffs outside the confines of recorded songs, carving out a solo during Don’t Move. Her soaring, crisp voice was especially showcased on Fall in Love.

The stage bled red light for an electrifying Run Run Blood — “Hey wolf, there’s lions in here” — with pounding drums and thumping bass, building up to a climax that hits you in the heart.

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The clean piano intro and her perfect airy vocals stirred up all the emotions in Answer. There was an extra long pause after the lyrics “can’t make you stop when you’re already gone,” then the electricity kicked in full throttle, plus a slick, abrupt move back to the piano melody after “but I still need an answer, love.”

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Her vocals shine even more live for Black Out Days — pure perfection — the audience roaring before they even finished the outro on keys. She sighed into the mic before the beat dropped in When I’m Small, extra breathy and sultry live as she experimented with thrilling vocalizations throughout.

While the omni-instrumentalists both sing, Barthel leads the performance, with Josh Carter staying low within his pitch register, an understated contribution.

The duo is so much more than electronic music; their songs are even more addictive live, with the ability to let songs breathe and the extra-punchy drums.

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