WILKES-BARRE TWP. — The start of the work week sucks, and Monday nights are never welcome in this busy town. However, there was a bright shining light inside the Wachovia Arena, bouncing off the head of Chris Daughtry.
The smooth-headed vessel of modern rock lit up the stage alongside his self-titled band for the NEPA leg of the “Leave This Town 2009 Tour” at the arena, supported by heavy hitters Cavo and their alterna-rock Canadian counterparts, Theory Of A Deadman. Daughtry delivered a 17-song set comprised of tracks from the band’s latest album “Leave This Town” and all the hits you know and your mother loves from the 2006 debut “Daughtry.”
Since its conception in 2006, Daughtry has become one of the most recognizable rock bands in America, due to insanely heavy radio rotation, a blast of No. 1 singles and the fact that the band is actually incredibly good at what it does. Let’s also not forget about Chris Daughtry being a runner up on “American Idol” Season 5, losing out to Taylor Hicks, Katharine McPhee and ... that other guy that no one remembers.
Sure, the TV mega monster launched Chris Daughtry’s career, but it’s his obvious talent and star quality that’s endured and led him to become the only “Idol” contestant to achieve two No. 1 albums in succession without a saccharine bubblegum pop song in sight. Who says the winner takes it all?
The openers had successfully set the mood for Daughtry at the arena, thoroughly entertaining the packed crowd and leaving a feeling of excitement buzzing in the air while it waited for the main event. Great ’80s hits boomed through the speakers, while groups of girlfriends, couples, families and many Daughtry-a-likes mingled with each other. Who knew NEPA sported so many fine examples of baldness and perfectly groomed chinstrap beards?
Daughtry’s build-up and entrance was magnificent; the light show danced over a huge sheet that stretched from the stage to the ceiling. As the band took its position behind the cover, silhouettes teased the arena and whipped it into a frenzy. The sheet dropped to reveal the 5-piece, and the arena erupted. The grand scale of the venue didn’t belittle the band as it opened with “Every Time You Turn Around” into the smash hit “It’s Not Over.” While 80 percent of the crowd sang along with him, Chris Daughtry encouraged, “You sound beautiful, keep it up.” Flattery will get you everywhere, Chris.
The first half of Daughtry’s set was proof that its sophomore album will carry the torch from where the successful debut left off. Swinging from more sober and harmonious tunes like new single “Life After You” to fat and chuggy breakdowns peppered into the end of “Ghost Of Me.”
While Chris switched from mic-in-hand to mic-in-stand for his electric and acoustic guitar moments, the rest of the band worked the stage and played faultlessly, proving that Daughtry is by no means a one-man band. Guitarists Josh Steely and Brian Craddock are pillars beside their frontman, adding vocal harmonies, providing riff backbone and banging their heads appropriately. Steely’s solos were surprising, his masterful widdling making you wish that the famous frontman had some hair to flip as he stomped up and down the gangway.
The middle of the set, otherwise known as ballad central, was a down-tempo showcase for Chris voice. His range and intense power in songs like “September” rose up and through the ceiling. However, his vocal acrobatics, although incredibly impressive, sometimes left his words unclear and strained towards the closing.
His solo acoustic performances of “Tennessee Line” from “Leave This Town” and “In The Air Tonight” by Phil Collins (accompanied by drummer Joey Barnes, who played with glowing drumsticks for the duration of the track) had the audience in awe of his voice but settled from a series of slower songs.
What’s better to wake them up then with fireballs and a few explosions to signify that the hits were coming? Ah, the beauty of the arena concert. Daughtry’s fourth single “Over You” saw fans of all ages singing along on the edge of their seats, while the diehards on the floor and in the pit stretched out to their idol and swayed along.
Daughtry’s debatable final choice of cover threw a wrench into their well-oiled engine. Embarking on “Possum Kingdom” by The Toadies was not a completely catastrophic choice but seemed dry when sandwiched between two contemporary uber-hits. The well-known “Feels Like Tonight” reinstated the momentum and soared over the arena. Barnes even picked up the tempo a bit, which successfully led into the huge intro to “You Don’t Belong,” which rolled out into a more melodic-rock middle and finished with more explosions, 15-foot fireballs and the loss of lights as Daughtry left the stage.
As the busy bodies made their way up and out to beat traffic, the rest of the crowd shouted for more, and Daughtry returned to perform “Home,” which Chris admitted was “The song responsible for getting me a record deal.” The familiar tune was accompanied by many a cell-phone glow and camera flash.
The final rocker “There And Back Again” from the latest album ended the night with a bang, giving bassist Josh “JP” Paul his time to shine with a rapid bass solo, followed by more Steely guitar trickery and some rocking out with Chris Daughtry employing heavy use of a bullhorn, too. By this time, Barnes was only playing in his tight, blue underpants, which was the only thing that seemed painful about the loud and proud close to the show.
It’s the quality of each individual talent and the shine of the frontman (not just from his forehead) that confirms Daughtry will remain radio-friendly darlings of the mainstream for years to come.
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