It’s easy to look at a band like Beady Eye and make easy pronouncements about the bombast of their music based on the circus that is the Gallagher brothers. If you expected animosity and bitter feelings from Thursday night’s Beady Show at the 9:30 Club you would have been sorely disappointed. What was on display was a millieu that was equal parts professionalism, bombast and the pure rock ‘n’ roll swagger.

It’s easy to look at a band like Beady Eye and make easy pronouncements about the bombast of their music based on the circus that is the Gallagher brothers. If you expected animosity and bitter feelings from Thursday night’s Beady Show at the 9:30 Club you would have been sorely disappointed. What was on display was a millieu that was equal parts professionalism, bombast and the pure rock ‘n’ roll swagger.

The Cold War Kids stormed into the 9:30 Club on Saturday night to deliver cuts off their new album, Mine is Yours, to a sold-out crowd. The band made a name for themselves in L.A., plying the scene in Silverlake with an infectious blend of blues-meets-pop hooks and the urgency of lead singer Nathan Willett’s pipes. The band’s newer material builds on the radio-friendly success of “Something’s Not Right With Me,” mixing acutely literary references (e.g. name-checking Joan Didion) in tunes that continue to call out the darker, more angular crevasses of sun-bathed Southern California’s San Bernadino Valley.

The Cold War Kids stormed into the 9:30 Club on Saturday night to deliver cuts off their new album, Mine is Yours, to a sold-out crowd. The band made a name for themselves in L.A., plying the scene in Silverlake with an infectious blend of blues-meets-pop hooks and the urgency of lead singer Nathan Willett’s pipes. The band’s newer material builds on the radio-friendly success of “Something’s Not Right With Me,” mixing acutely literary references (e.g. name-checking Joan Didion) in tunes that continue to call out the darker, more angular crevasses of sun-bathed Southern California’s San Bernadino Valley.

Interpol demands intimacy. The almost sexual rhythmic intensity of tracks like “Narc” and the tight treble tweaks of “Success” demand personal attention with a palpable urgency. Paul Banks’ stage presence and his cohorts’ brooding sound do not arena-rock make. Their tight, angular sound felt lost in the acoustically monstrous DAR, which in turn left the audience regret not seeing them in a more fitting venue like the sonically-superior 9:30 Club.

Interpol demands intimacy. The almost sexual rhythmic intensity of tracks like “Narc” and the tight treble tweaks of “Success” demand personal attention with a palpable urgency. Paul Banks’ stage presence and his cohorts’ brooding sound do not arena-rock make. Their tight, angular sound felt lost in the acoustically monstrous DAR, which in turn left the audience regret not seeing them in a more fitting venue like the sonically-superior 9:30 Club.

The Klaxons burst into the consciousness of the British music press back in 2007 with Myths of the Near Future, an album of danceable, explosively frenetic rock that was quickly labeled “nu-rave”. Quite the moniker to live up to, but the band’s recent follow-up Surfing the Void emerged into the light of day after their label Polydor allegedly complained the first set of tracks was “too experimental” for release.

The Klaxons burst into the consciousness of the British music press back in 2007 with Myths of the Near Future, an album of danceable, explosively frenetic rock that was quickly labeled “nu-rave”. Quite the moniker to live up to, but the band’s recent follow-up Surfing the Void emerged into the light of day after their label Polydor allegedly complained the first set of tracks was “too experimental” for release.

Akron, Ohio’s The Black Keys stopped at DAR Constitution Hall last night in support the release of their latest album, Brothers.

Akron, Ohio’s The Black Keys stopped at DAR Constitution Hall last night in support the release of their latest album, Brothers.