Show Review: Arctic Monkeys, The Like

Originally published in Redefine Magazine.
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The Fox Theater
Oakland, CA
September 16, 2009

With songs like "Still Take You Home," which break the ice by stating, "Well it's ever so funny/ 'Cause I don't think you're special/ I don't think you're cool/ You're just probably alright/ But under these lights you look beautiful," one would get the impression that England's Arctic Monkeys are either fun, witty guys or complete jerks. Those familiar with the band's repertoire know that the former is true, and the countless number of wily remarks they make plays a big part in the equation that make their albums memorable. Likewise, performing as a five-piece, the Arctic Monkeys neither showed cockiness nor obnoxious behavior. There was some of the English lad-aloofness, but mostly, the band members were gracious, well-rehearsed, and simply confident.

Before the Arctic Monkeys presented the audience with a collection of songs off their latest album, Humbug, and fan favorites from their two other releases, Los Angeles' The Like launched into the night with a 30-minute set of sweet harmonies and sweltering swagger. The all-female band, dressed in '70s mod dresses, was an impressive balance of The Cardigans' pop sound and the edginess of Emily's Sassy Lime. However, "He's Not a Boy" and "Narcissus in a Red Dress" recalled the sounds of earlier times. The former encouraged the audience to clap along to the dreamy aesthetics of a '60s beach party, while the latter created an aura of mystery inspired by spy movie narratives.

Following The Like's set of delightful, danceable songs, the members of the Arctic Monkeys subtly walked on stage to a modest song intro and went straight into Humbug's "Dance Little Liar." It was a deceiving start, and while the song title suggests dancing, it demonstrated the more reflective moods on their new album. Much like England's gloomy weather, as well as the typical weather in the San Francisco Bay Area, the band appeared melancholy. About halfway through the song, the energy picked up, and without pause, the band followed with the more known and engaging "Brianstorm." Strobe lights also helped accelerate the pace, and the audience in the crowded theater enthusiastically started to move.

Before taking a break to address their fans, the band played two more songs off the new album -- "Crying Lightning" and "Potion Approaching." With snappy opening chords, the latter played with the emotions of those who were expecting to hear something from the band's first album, Whatever People Say I Am, That's What I'm Not. However, as soon as the pounding drums started sounding like a death march, the somber sound made it evident that it was not yet time for the real dancing to commence.

For the first time of the night, lead singer and guitarist Alex Turner thanked Oakland and lightened the mood with his accent. "I've never been here in me life," he said playfully.

Throughout the show a few fans waved a British flag and the moment that every fan was waiting for arrived with a segment that included "This House is a Circus," "Still Take You Home" and "I Bet You Look Good on the Dancefloor." Fans began crowdsurfing, and Turner provided some laughs by picking up a jacket from the pit and declaring that it was a gift for him to keep.

The biggest surprise was dropped with the performance of a Humbug B-side, "Sketchead." Turner said that it was the band's first time performing the song live, but it was not certain if that was in fact true. Nonetheless, the song was much like the post-punk, tongue-and-cheek tracks from Whatever People Say I Am, That's What I'm Not, which were performed previously. It was slightly dark in a vampire manner, but fun, fast, and catchy. The way Turner spitted out the word "sketchead" seemed as if it were a nice way of calling out somebody who he would normally describe using more profane words.

Another notable moment was the band's cover of the Nick Cave song, "Red Right Hand." In true Arctic Monkeys spirit, the interpretation was more intense and rushed than the original.

Whether a song was quick and fervent like "The View From the Afternoon" or calm and romantic, such as, "Only Ones Who Know," the band was always on point. The band members communicated well with each other, and it is obvious that they posses genuine passion and work ethic. On every song, they built up tension, leaving the audience hanging for a few moments, and then delivered with loud interludes before going back to a chorus.

The hour-and-a-half-set worked in the same suspense as each individual song. The band left the stage after "Do Me a Favour," as fans wondered if the encore would include the favorites "Fluorescent Adolescent" or "Fake Tales of San Francisco." Even though the show was in Oakland, "Fake Tales of San Francisco" would have still been appropriate, but it was not included in the set. Instead, the encore was composed of "Secret Door," "Fluorescent Adolescent" and "505." The crowd welcomed "Fluorescent Adolescent" with cheers and open arms. Always keeping fans on their toes, the Arctic Monkeys included a new section in the song, which seemed to stop time as Turner sang with a gentle croon. Leading into the nostalgic "505," the band delicately and humbly parted ways with an audience that would not have minded hours more of music.