LIVE: THE KILLERS @ THE LG ARENA 31/10/12

On a freezing Halloween night the Killers bring their own brand of spooky holiday cheer to Birmingham, opening their set with a ‘Zombie Hands’ music video showing the band suitably attired in Halloween garb. When the band eventually surface, only drummer Ronnie Vanucci is dressed for the occasion, choosing the skeleton onesie as his weapon of choice, but the band nevertheless is in very good form and spirits. They kick off proceedings with ‘Bones’ rather appropriately, and it is clear from the off that the crowd are in for a treat rather than a trick (no more puns, I promise).

What is also clear is the polished performance of Brandon Flowers as frontman and master of ceremonies. He embarks on a monologue during the refrain of ‘The Way It Was’, bemoaning the fact that we are distracted from engaging with our loved ones by things like ‘Angry Birds and Fruit Ninja’. Flowers is an utterly compelling performer, whether he is sermonising or serenading, and those who are at the show tonight feel lucky to just be in his presence.

Of course though, this is not a one-man band, and there are stellar performances all round tonight. Dave Keuning knocks out classic riff after classic riff without even breaking a sweat, and the instinctive musical connection spoken of so much between Vanucci and gentle giant Mark Stoermer is evident in their playing. Highlights include ‘When You Were Young’ and ‘Mr Brightside’, songs that will probably never leave the Killers setlist, as well as the spine-tingling ‘Flesh and Bone’. The band finish with ‘Battle Born’, a track made to be a closer; such is its magnitude and magnificence. As Flowers introduces each member of the band, he tells the audience that there are no ghosts that we see, but as the final notes of ‘Battle Born’ drift away there is a sense that something not of this world has just taken place. 

ALBUM: THE KILLERS - BATTLE BORN

It’s been a long time since 2008’s Day & Age, a hiatus which has yielded solo efforts from three of the four members of the Killers. This literal and musical space sets the stage for an intriguing moment in the career of the band; a crossroads, to dip into American imagery. Which way do they turn? What happens next? To answer this question, Battle Born takes to the stage.

And indeed it takes to the stage in devastating fashion. ‘Flesh and Bone’ starts slow and small and erupts into a triumphant chorus, with Flowers challenging the listener with cries of “What are you made of?” It is everything an album opener should be; it instantly grabs your attention and holds it unswervingly. As this beginning is perfectly crafted, so the eponymous final track follows the example of ‘Flesh and Bone’. ‘Battle Born’ is a behemoth, flitting from acoustic verses to choruses stuffed with power chords and massive layered backing vocals, a refrain full of battle cries and fully loaded guitar riffs from Dave Keuning to a stunningly gentle coda filled with arpeggios that dance in and out of each ear. It should be disparate and jarring but it sounds like the most natural combination in the world.

So the bookends are taken care of, but what of the meat of this record? What is unearthed here is much more of a mixed bag. The problems where they arise tend to be problems of unfulfilled potential, and nowhere are these more evident than in ‘Miss Atomic Bomb’. All the trademark Killers touches are here, but there is nothing to elevate the song or give it any kind of distinction. It begins to redeem itself towards the end of the track but then fades out inexplicably, quashing any excuses made for the poor beginning. Elsewhere, ‘The Rising Tide’ and ‘From Here On Out’ descend into full-scale Americana without any real stamp of individuality on them, and on ‘Heart of a Girl’ the band very nearly achieve a successful mellow sound that is spoiled only by the discordant gospel presence.

Hidden in amongst these near-misses, however, are some real gems. ‘Deadlines and Commitments’ is a pleasantly murky song with a strong 80s influence, driven by the hypnotic rhythms provided by Ronnie Vanucci and Mark Stoermer that culminate in a breakdown full of tribal drums and a throbbing bass solo (and really, who doesn’t love a good bass solo?). ‘Be Still’ sees the band veering towards the electronic edges of their creative mind and, combined with Flowers’ particularly excellent vocal performance, makes for a poignant offering. The rule for this record seems to be that when the Killers get it right, they really get it right.

Battle Born is many a mile away from the band’s lauded debut Hot Fuss, and many fans may lament this fact, but change should not be lamented because it is inevitable. The Killers have changed and matured, and throughout their career they have sought to try new sounds on for size. Although they may not always be successful in this endeavour, they should at least be given credit for trying.

7/10

Buy Battle Born here