After much anticipation the fans return to Hammersmith Apollo, two yearson, to see how Kings of Leon have shaped up since the release of their new album Becauseof the Times.
There are few early queuers, reflecting the distance that has grown between them and the band since AhaShake Heartbreak and their third opus sent them into the major league ofinaccessible rock stars.
Outside some stylish fans are being phographed in order to portray how music can influence fashion which is understandable as theKings have been trend setters in their own right.
The journey through Atlanta rockers Snowden was purgatory, though we at least knew we were going to a betterplace. They tried very hard to impress with tremendous energy and stage presence, but nobodyreally cared.
What Kings lack in dynamism on stage, they more than make up for in their songs. This show, morethan ever before, is about civilized appreciation, with minimal beer throwing and crowd surfing.
Caleb Followill’s short hair symbolises the changes the band haveundergone. Along with their maturer direction, the Kings have a better stage set up – half waythrough the show several disco balls appeared blinding us withbright light to leave a silouette of Caleb as he sung Milk.
As the crowd repeatedly sing back, ‘Woah, oh, oh, woah, oh, oh,’ duringKnocked Up, guitarist Matthew Followill made a shylyattempt at suppressing his smile onrealisation at the recption Kings were generating. Maybe he was smiling at theappropriateness of the song Fans in which Caleb whipped out his acousticguitar and bayed “All of London sing,” to which the crowd dutifully obeyed.
Or perhaps he still gets overwhelmed by the success ofnights like these. London is their favorite city. Ending with McFearless, they left us both mystified and satisfied.