Advertisement

Review: At KROQ-FM’s Almost Acoustic Christmas, a blend of modern and not-so-modern rock

Share

Chris Cornell was the ghost of alt-rock past when he appeared on a bill dominated by younger acts with quicker creative metabolisms at KROQ-FM’s Almost Acoustic Christmas concert.

Not terribly long ago, Cornell would’ve counted as a major player at this annual radio-station blowout, first with his pioneering grunge band Soundgarden and later with the supergroup Audioslave, which broke up in 2007.

But the modern rock scene that KROQ reflects (and helps shape) has shifted significantly over the last decade, in both sound and sensibility. It’s smarter and nimbler now, with room for more diverse textures and points of view; it’s no longer a place where you’re certain to find tortured guys bellowing over loud guitars.

Advertisement

See the most-read stories in Entertainment this hour >>

So, although he bellowed convincingly enough in a brief set that combined Soundgarden songs with stuff from his rootsy new solo album, Cornell looked stultifyingly old-fashioned as he strummed away at this year’s event, held Saturday and Sunday nights at the Forum in Inglewood.

And like a ghost, he seemed hardly to be seen by many of the young fans in the audience who chatted throughout his performance.

You couldn’t really blame them. Sunday’s show was packed with more exciting acts, most notably the 1975, a sly English group that surrounded singer Matt Healy’s dreamy tenor with neatly slashing guitar riffs and syncopated funk-pop rhythms. As the band’s name suggests, the 1975 pulls deeply from the past; “Love Me,” for instance, had more David Bowie circa “Fame” in its DNA than Cornell’s version of “Imagine” had John Lennon.

Yet Healy and his mates delivered those familiar moves with thoroughly modern style: funny but serious; sexy without being macho; coolly aloof yet proudly emotional. They even had a dude come out and play a sax solo.

The Neighbourhood, from Los Angeles, put across a similar energy. The idea was basically downtempo electronic R&B (à la Drake and the Weeknd) reimagined for a live rock band. But frontman Jesse Rutherford, dressed in high-waisted jeans and athletic slide sandals (with socks!), gave the music a passive-aggressive intensity that made it feel fresh.

Advertisement

Fall Out Boy preserved alternative rock’s bruising guitars but also employed crisp digital beats and precisely layered vocal harmonies. For “The Phoenix,” the band pushed its sound to an almost comical extreme: a jock jam for the age of performance-enhancing drugs.

It wasn’t the only band to use a well-worn form to create what felt like a critique. Onstage early in the 5½-hour show, Elle King drew on vintage electric blues -- the kind drenched in testosterone -- to warn boys against underestimating her determination (and her mean streak). Later, Panic! at the Disco winkingly borrowed Queen’s frenzied pomp for songs that took aim at gossips and wannabes.

Almost Acoustic Christmas had its share of relatively straightforward characters. Clutching guitars and breathy English accents, James Bay and George Ezra sang about romance in sensitive-bro language that Cornell might’ve admired. Iceland’s Of Monsters and Men churned out stomping folk-rock anthems that were somehow even more painfully earnest than those by Mumford & Sons.

And then there was Cold War Kids, a deeply proficient L.A. alt-rock combo that did everything right -- propulsive grooves, impassioned vocals, taut guitar lines -- but couldn’t help but seem a vestige of another time.

Like many of the artists that played Sunday, frontman Nathan Willett mentioned what an honor it was to be playing for KROQ, given that he’d grown up listening to the station.

Advertisement

Wonder if he’s tuned in lately?

Twitter: @mikaelwood

Advertisement