Concert review: The Black Keys serve up blistering blues rock in Atlanta

The Keys, who made their name in the early 2000s with blistering garage rock to later become the unlikeliest of blues-pop heroes with 2010’s release “Brothers” and two subsequent releases, came ready to rock during their 90-minute Philips set, starting out with a thumping version of “Dead and Gone” from 2011’s release “El Camino,” and “Next Girl,” a perfect showcase for Auerbach’s soulful voice and crunchy guitar.

But the night’s real rock star moment came after the pair performed “Run Right Back,” when the backdrop behind them dropped dramatically to the ground, revealing a wall of spotlights and screens displaying various colors and patterns. From there, they launched into the grungy “Same Old Thing” and the crowd-pleasing “Gold On the Ceiling,” which turned into a spirited singalong.

PHOTOS: Black Keys rock Atlanta

Carney, who cheekily said in 2012 that he "sucks" at the drums, didn't let on that he was being serious. His skills were especially during the thumping, insistent "She's Long Gone" and "Leavin' Trunk," from the duo's first album, 2002's "The Big Come Up."

The playlist, a solid mix of songs from their eight albums, including 2014’s “Turn Blue,” (the group’s first number one album and one of several collaborations with UGA alum Danger Mouse), served as a reminder of just how much the Keys’ style has evolved since “Come Up.” The straight-up blues sounds of “Leavin Trunk” and “Strange Times” are a fairly far cry tonally from the pop sensibilities of radio hits including “Gotta Get Away” from “Turn Blue” and “Lonely Boy” from El Camino.

It makes sense, then, that Thursday’s crowd was extremely diverse when it came to age – in addition to the old-school fans in their 30s and 40s, there were parents who brought their young children, high school students and college kids who seemed the most familiar with everything since "Brothers," and AARP-card holders. It's a testament to the band's evolving sound that they've managed to find such a wide audience and heavy radio presence after starting out as a blues-centric outfit.

The group's three-song encore in particular was a nod to their newer material, including the heavily Led Zeppelin-influenced "Little Black Submarines," which started out as an acoustic number with Auerbach letting the audience sing most of the lyrics, and built to a face-melting, pounding crescendo with Auerbach and Carney performing at their peak.

The Keys have gotten some attention of late for their non-Keys activities, including the band's beef with Jack White and Auerbach's allegedly rancorous divorce and his work on Lana Del Rey's 2014 release "Ultraviolence." They put all that out of mind during their Philips show, and simply delivered what the crowd came for -- passionately played blues-tinged pop.

Credit: Yvonne Zusel

Credit: Yvonne Zusel

A shoutout to St. Vincent, aka Annie Clark, for an excellent opening set, for which far too few people showed up. Her weird indie rock show, during which she was made up to look like a demented Effie Trinket from "The Hunger Games" series, served as a jittery, electro-pop scene-setter for the Keys' blustery set. Clark's guitar skills rank right up there with Auerbach's, which made it a little sad that she didn't come out for a guest appearance.

SETLIST:

Dead and Gone

Next Girl

Run Right Back

Same Old Thing

Gold on the Ceiling

Strange Times

Nova Baby

Leavin’ Trunk

Too Afraid To Love You

Howlin’ For You

A Girl Like You (Edwyn Collins cover)

Money Maker

Gotta Get Away

She’s Long Gone

Fever

Tighten Up

Your Touch

Lonely Boy

ENCORE

Weight Of Love

Turn Blue

Little Black Submarines