Black Keys Poster – Concert Promo Flyer – 2012 Maverick
Promo Flyer to advertise a concert by The Black Keys 2012 at the Maverick Center in Salt Lake City, UT
| Size – approximately 11×17 inches ( 28x43cm)
| Price – $9.84
Black Keys Maverick
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I don’t mean to begrudge Auerbach and Carney, both in their early 30s, well-earned success, and I’m not one to accuse them of selling out. They lent “Tighten Up” to Subaru and others when they were hurting, and now that they’re not, you don’t hear their songs on every television ad. Nor should they not focus heavily on their most popular material for this first full-court press of West Coast arenas, following two co-headlining weekends at Coachella that, after a thin start, eventually proved this pair is ready for the Big Time.
Indeed, the latest Black Keys music is by far their best, the infectious culmination of all that raucous puttering in the garage for a decade. That logically provides most of the highlights from their currently unchanging set list: a half-dozen from Brothers, including jolting takes on “Howlin’ for You” and the bitter recrimination “Next Girl” to launch the show, plus seven of 11 from the start-to-finish exhilaration of El Camino.
Maybe they’ll swap one out across two shows at Staples Center this weekend, or toss a gem into Monday’s replay at Honda Center. This isn’t Wilco or My Morning Jacket; the Keys stick to a script, and there’s little reason to pore over it twice. As a fuzzed-up rush, however, what they offer is still an arresting experience that adequately fills large spaces and gratefully doesn’t rely too much on overwhelming visuals for energy.
As you might expect from such neo-traditionalists, their live display is about as old-school as it gets. A giant backdrop now and then engulfs them in blurred-out photos and random graphics, but everything about it evokes similar surroundings from titans of the late ’80s: R.E.M., U2, Depeche Mode. No fantastical, Muse-like production or Technicolor Coldplay explosion from these dudes, just a general ambiance with two modes, warm or stark– and sometimes simultaneously, as when they switch off the screens, shoot a dozen colored lights in different directions and simply jam out like they’re ZZ Top circa the Bicentennial.
What’s a letdown is how little regard they seem to have for everything that came before they were famous. Not only does that alienate hardcore acolytes who may (or may not) still be hanging around once the bloom inevitably fades from the Black Keys, but it suggests limitations to the duo’s imagination.
Yes, they forcefully zipped through 20 songs, a standard-size set, yet so many of their songs are mere morsels at this point; like great Ramones sides, they’re over almost as soon as they begin. With the exception of the encore-closing “I Got Mine,” for which Auerbach momentarily went soaring for longer than just a killer lick, hardly any cuts were expanded or reshaped.
Black Keys Played the Roseland in Portland as part of the MusicFest Northwest