Concert review: Kings of Leon at American Airlines Center in Dallas (October 7)

by Aaron Malofsky of Skytram Express

Photo by Aaron Malofsky

Close shot of Kings of Leon on video screen

In front of a near capacity crowd of rowdy, proud and loud fandom, Kings of Leon (KOL) stormed through their discography Wednesday night, but their efforts were thwarted by an imperfect sound quality at the American Airlines Center. Despite national recognition for the Center’s impeccable acoustics, some of the artist’s most celebrated tunes were marred by poor technical direction by Center officials. The band’s few remarkable performances of the night came from their latest album, 2009’s Only By Night.

The Nashville foursome began their eclectic set with their slow-space jam, "Closer," featuring computer-generated, sci-fi electronically driven beats, and seductive crooning vocals by guitarist/lead Caleb Followill. But most of their instrumental effects were hampered by dismal acoustics arrangement and a poor speaker system at the Center. Much of Followill’s scintillating ballad was muffled with static and feedback distortion.

"Be Somebody" ignited a fierce spark in the crowd assisted by its motivational lyrics, which could be a proclamation for self-purpose and independence. The tune featured a masterful array of tribal drums and jagged guitar grooves by Matthew Followill. This was one of the stellar moments of the night as the band chanted in unison to the highly emotive chorus and helped galvanize the crowds to sing along with the band.

Another priceless moment was "Sex on Fire," their New-Wave intensive jammer that features a combination of flawlessly executed guitar work and battering ram-style percussion. The AA Center became a huge dancing mosh pit in a matter of moment as fans raised their fists in the air to one of this year’s best new anthems.

Photo by Aaron Malofsky

Wide shot of Kings of Leon on stage

Much to this dismay of concertgoers, attendees appeared to be lethargic and largely apathetic to the on-stage neon-colored light fest during highly touted anthems such as "On Call." This southern blues post-punk track should have sparked animation from the crowd from every corner of the stadium. The crowd instead suppressed their resentment for a garbled delivery from the band.

KOL closed the night’s festivities with their international sensational single "Use Somebody." The track is an eyes-closed rocker that is an ode to those singles looking for romance in a congested metropolis. But much of the band’s quintessential chorus and signature “whoah-ohs” were drowned out once again by a poor acoustics and microphone system.

The 2009 music calendar has brought added fame, fortune, and prestige for this foxy foursome from Nashville. But their road trip to Dallas will serve as an unfortunate reminder that choosing the wrong venue will hamper any musician’s performance. Grade: C+

SkyNotes

While many of the AA Center’s crowd lined up outside for KOL merchandise, high-priced beverages, or eateries, London’s new modern gothic rockers, The White Lies, provided a monumental performance to spark the music festivities. Most of their short set was dedicated to their collection of songs from this year’s To Lose My Life LP.

"Farewell To Fairground" could be paying unofficial homage to Echo and Bunnymen and The Killers. The track featured savage guitar riffs and an exquisitely haunting vocal from Harry McVeigh that’s reminiscent of Brandon Flowers. Their most popular track, the Joy-Division-inspired song "Death," resonated most with the audience as many were seen dancing close to their seats. Band members also offered the ticket holders the opportunity to receive autographed copies at the conclusion of the Kings of Leon performance. Grade: B+

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