Scenestar

ARTICLE BY MYCHELLE PETERSON
PHOTOS BY BOB MCCABE AND MYCHELLE PETERSON

When a band rolls through one of the largest cities in the U.S., you’re left with two options to see them live. One: you go ahead and buy a ticket for a crappy venue where you know you’ll have an obstructed view and be shoved endlessly throughout the night. The second choice is to drive a few hours to see the band in a much smaller, more intimate venue with superior sound. When it came to seeing The Black Keys, I knew I had to make a short road trip from Chicago to Indianapolis, favoring sound quality and sightlines over venue proximity. And I’m not disappointed that I did.

The night didn’t get off to the best start, though, with opening act, Jay Reatard, who tore through what seemed to be 20 two-minute songs. In fact, they only played for 30 minutes, but every song sounded the same with thrashing guitars being eclipsed by the band’s on-stage antics. The trio took the stage saying, "We’re Jay Reatard, and we didn’t go to sleep last night," and it really showed. They reminded me of a bunch of kids playing Guitar Hero or Rock Band in their parents’ garage. I was so distracted by their image that I barely heard the music, and that’s never a good thing. After repeated swigs from a Jack Daniels bottle, the singer flipped the audience off with both hands and even simulated a blow job on the giant-haired bass player. Haven’t we seen this before, and wasn’t it done better by Deerhunter a few years ago? The most entertaining aspect of the band was contemplating whether the drummer looked more like Garth of Wayne’s World infamy or comedian Bruce Vilanch.

Thankfully, I knew what was up next and that made suffering through the opening act well worth it. The Black Keys took the stage and commanded the audience for the next hour and a half or so, pulling from all of their previous albums and playing a nice selection from the recently released Attack & Release. Both Dan Auerbach and Patrick Carney are such skilled musicians, it’s tough to know who really dominates their live shows. Carney’s drumming is explosive and about mid-way through the set he looked completely exhausted. And yet he soldiered on, and maybe even took it up a notch to get the job done. But it’s Auerbach’s velvety voice that really shines live. It’s a voice that envelops you in a safe place, even when you’re standing in between drunken fistfights taking place. He never strains to reach the notes, and unlike Carney, he never lets on if it isn’t anything other than effortless throughout his entire performance.

While every song sounded consistently strong and vibrant, the new tracks really stuck out throughout the setlist, and I have yet to come to real conclusion if that’s a good or bad thing. The production on the new songs is radically different than their previous albums, and it was crystalized hearing those songs up against the older tunes. Don’t get me wrong, I really enjoyed hearing "Remember When (Side B)" and "Psychotic Girl" live, as they are my favorites of the new record. But they pale in comparison to the old school sounds of "Thickfreakness" and "Your Touch," the very sounds that put these guys on the map.

The crowd was an interesting mix of hipsters, rednecks and grandparents. Easily the most diverse crowd I’ve seen in ages, and that’s a real testament to the appeal of The Black Keys. Shocking how good old fashioned, consistent rock and roll can always win over a wide range of fans. As with many of the Keys’ recent shows, there was definitely some aggression up front where I was standing. A fight momentarily broke out during the band’s final song when a clearly intoxicated guy pushed his way to the front. When he realized I’d built a wall around me and was not letting him through, he pushed to the side and actually hit a guy in the face and tore his shirt in the process. The guys finished the song, the lights came up and the fight was still escalating. In fact, it got more heated until it was broken up when several guys restrained the drunk guy and in no uncertain terms told him to get out of the venue.

I think this could be a real turning point in the career of The Black Keys, and only time will tell what happens next. After touring pretty extensively and developing a loyal and under the radar fanbase, it remains to be seen whether they’ll lose those fans to the commercial gloss of the Danger Mouse produced Attack & Release, or if they’ll blow up the way another famous drum and guitar duo did after a particularly polished album called Elephant.

And yet none of that really matters when it comes down to the fact that Auerbach and Carney play their hearts out on stage and don’t rely on gimmicks or fancy theatrics to entertain their audience. This band’s timeless sound will be with us for many years to come, regardless of slightly nuanced variations.

The Black Keys are wrapping up their U.S. tour this month before heading over to Europe for a bit. But don’t fret! You can catch them this Wednesday on The David Letterman Show to tide you over until they head back to the States this summer for a few festival dates. And as if you didn’t need another good reason to make the trek to Chicago, the boys will be playing Lollapalooza on August 1.