The Fratellis are one of those bands that are unpretentious in the best way possible. Although their music isn’t quite ground-breaking, it doesn’t matter because their brand of three-chord garage rock is so catchy and performed with such brash exuberance that one can easily sense that these guys are making music just for the fun of it.
This refreshing lack of pretension was reflected in the Scottish trio’s set at the Avalon in Hollywood Saturday night. From the band’s solid and straightforward performances to the fact that it played on a bare stage with nothing more than its instruments, it was obvious that the Fratellis weren’t gunning for arena god status on this evening.
Still, the sold-out crowd that showed up to sing along and display their Fratellis T-shirts certainly proved that the band’s breakout success in the U.K. has spread across the pond whether the guys like it or not.
The night began with an opening set by Santa Cruz’s own Division Day, which delivered atmospheric, keyboard-driven indie rock to a less-than-enthusiastic response.
Despite the lack of cheers from the audience, though, the band proved that it is worthy of more respect. With a sound that makes room for both Ryan Wilson’s angular guitar work seemingly inspired by the Edge and drummer Kevin Lenhart’s occasional use of a maraca as a drumstick, Division Day is able to combine the familiar with the unexpected to create something awesome.
In addition, the title of its latest album (and one of its songs) is “Beartrap Island.” Enough said.
After Division Day finished its set, the Fratellis took the stage and took control of the evening.
For the next hour, the band followed a consistent pattern: John Fratelli sang in a snarling yet melodic tone vaguely reminiscent of John Lennon while effortlessly delivering addictive guitar hooks, Mince Fratelli bashed away on his drum kit that was draped with both Scottish flags (the official blue flag with white stripes and the yellow-and-red Lion Rampant flag) and Barry Fratelli earnestly plucked away at his bass even though it was completely overshadowed by John’s guitar.
The guys kicked things off with “Baby Fratelli,” a midtempo rocker with a sing-along chorus that was featured in the soon-to-be-cult classic “Hot Fuzz.” After getting the audience warmed up with “Baby Fratelli,” they cooled things down for a bit with the slower “Everybody Knows You Cried Last Night,” a showcase for the band’s pitch-perfect harmonies.
For the remainder of the set, the Fratellis followed this pattern of alternating uptempo songs with slower numbers as they ran through almost all of the tracks on their debut album “Costello Music.” Among the highlights were the frenzied hit single “Flathead” (yes, that song from the iPod commercial), which caused much of the audience to rock out like the silhouette figure in that commercial, the country-influenced “Vince the Loveable Stoner” and the anthemic “Chelsea Dagger,” which flaunts the most catchy “ba-da-da” chorus imaginable.
In addition, John busted out an acoustic guitar for the songs “For the Girl” and “Creepin’ Up the Backstairs.”
When given stripped-down acoustic arrangements, these tracks sound surprisingly like a hybrid of folk and country compared to their electric guitar-driven studio counterparts. In fact, the acoustic versions sound like songs Johnny Cash would have recorded if he had ever decided to cut an album of British rock.
Although their set was dominated by songs from “Costello Music,” the Fratellis played a new song that they said would be on their next album. Continuing with the trend set by “Costello Music,” the song is a rollicking number full of all the “fa-la-la”s and “ba-da-da”s you can handle.
If there was any flaw with the Fratellis’ set, it was that the performances were more restrained and coolly professional than expected. Granted, this approach would be expected of a veteran superstar act that has long performed in arenas worldwide for ungodly amounts of money, but the Fratellis sound so energetic and ready to jump out of your stereo speakers on “Costello Music” that it was disappointing that their live act on this night didn’t match the intensity they forcefully displayed on record.
In addition, although the Fratellis played all but one song from “Costello Music,” that omitted song was “The Gutterati?,” a careening rocker full of punk-like energy and deliriously catchy hooks that would have been a perfect fit for the evening. Indeed, if the Fratellis were constrained by time and wouldn’t have been able to play all of their “Costello Music” tracks, “The Gutterati?” would have been a perfect substitute for one of their slower songs.
Nevertheless, Saturday’s show was living evidence that the Fratellis’ seemingly overnight success is no fluke, since they are able to crank out addictive and timeless garage rock that would be a perfect fit for a cozy neighborhood pub.
