Arcade Fire dazzles in live show

Arcade Fire’s performance at Seattle’s Key Arena Oct. 15 was a deafening reminder that the thematic qualities of music – specifically, rock music – are far from dead. Gerard Butler and Régine Chassagne dazzled the audience with a show that played on classic showmanship in exciting ways that was powerful and loads of fun.

The show kicked off with an opening act from Phantogram, a band I will forever more recognize as infinitely better live than recorded. Opting for acoustic drums over a drum machine, and even at times guitar over synth, Phantogram primed the audience with a genuine enthusiasm often unmet by the less-than-half-full arena. The audience wasn’t there for them – or even there at all, at that point – but they played as if it were, all the same.

Following Phantogram was some down-time filled with odd circulating symbolism (from the band’s album art) on the jumbotron. Often the symbolism was interrupted by fake ads for products themed around song titles. Then the main show started.

A bizarre blend of soundtracks from the movie “Clockwork Orange” and other hits from various years blared while a narrator introduced the band out of the corner of arena like boxers (they had stats and everything). Arcade Fire kicked off with their newest single, “Everything Now,” which roared through the audience with much more energy and purpose than the recorded rendition. Following their opening song, the band moved through a wide range of their material, going all the way back to their sophomore album, “Funerals.”

In general, the band had an energetic stage presence that worked to move the audience. Percussionist Will Butler would often run around the stage smashing things and hopping on other band members with a single drum in hand. When not playing any number of instruments, Régine would often dance, and even once broke out a pair of streamers. Lead singer and guitarist Win Butler interacted with the audience often, holding mics out for moments of audience participation.

Often, Win would rouse the audience with relevant alterations to songs. In one instance, he subbed out lyrics from “Here Comes the Night Time” that normally go “…It’s behind a gate, they won’t let you in/ And when they hear the beat…” to “…It’s behind a gate, they won’t let you in/ Because they @#$%ing hate that you’re Mexican!”

Mostly, these moments were enthralling, once even compelling the crowd to quote, “Sing against all those @#$%ing Nazi @#$%s that plague our country!” In choice instances, though, the effects seemed preachy.

Arcade Fire’s ability to retain a soft alternative/indie title while still putting on one very powerful performance is a thing of beauty. The band fully embraces the need to make the show stand out from its source material in a way that astounds and excites the way only a live performance can.