Concert review: Peter Bjorn and John put on a high-energy show at the El Rey Theatre

Peter Bjorn and John
May 14, 8 p.m.
El Rey Theatre

Pop-rockers Peter Bjorn and John may be most well-known for the whistled hook of their 2006 hit “Young Folks,” but at a sold out show at the El Rey Theater on Saturday night, the Swedish trio showed that it knew how to do much more than make a catchy single; it also knows how to put on a terrific live show.

Before PB&J hit the stage, one-woman band Bachelorette warmed up the youthful crowd that gradually filled the El Rey’s intimate, chandelier-lit space with her brand of do-it-yourself dance pop.

Wearing a ruffled red, polka dot shirt, Bachelorette, A.K.A. New Zealand native Annabel Alpers, stood alone at center stage behind a mountain of equipment, including a laptop, a pair of microphones, vintage synthesizers, a tambourine and an electric guitar.

The soft-spoken Alpers appeared nervous onstage, introducing the title of nearly every song in a way that showed that she was fully aware that no one in the room knew who she was. With her brow tightly knitted, she recorded the individual vocal and instrumental parts of her songs, appearing to be working hard rather than performing. Still, it was impressive to watch her carefully record each part and skillfully weave them into a textured form of psychedelic, ’80s dance pop.

Unfortunately, sound issues began piling up toward the end of the set, making Alpers even more uncomfortable. A loud screech midway through a song off her forthcoming album forced her to stop the song and restart it from the beginning. The crowd applauded her reassuringly, sending her into another new song that she promised would “make up for all the technical glitches.”
She was right. The final song was her most catchy, inducing spontaneous head bobbing while sounding eerily reminiscent of Goldfrapp’s “Ooh La La.”

With a second show to play later that evening, Peter Bjorn and John didn’t waste time getting to the stage. The time restriction, however, didn’t prevent the band from playing up the drama of the live show one bit. With the curtains still closed, crowd anticipation built when the lights finally dimmed and heavy dance beats blared from the speakers.

When Peter Bjorn and John finally took the stage, they launched immediately into a barrage of hits from their previous albums and this year’s release, “Gimme Some.”

In front of a giant fluorescent reproduction of the three thumbed fist from the cover art of “Gimme Some,” lead-singer Peter Morén, dressed in a cream-colored suit and pink button down shirt, charismatically worked the crowd, alongside leather-jacket clad bassist Björn Yttling and beanie-wearing drummer John Eriksson.

There was a clear effort to create a sense that this was more than just Morén’s band. He and Yttling frequently stood side by side at center stage to play to the crowd, trade vocal harmonies and verses, and chat with the crowd. Morén even took the time to applaud and introduce Yttling after an impassioned version of “Let’s Call It Off” ended with both jumping up and down and shaking their guitars in a freestyle jam session. Eriksson, meanwhile, put on a show in his own right, twirling his drumsticks and pointing them skyward whenever the mood called for it.
Morén expressed his delight at being able to play a “proper show” after being sick during the band’s previous visit to L.A. “This time, I feel great,” he exclaimed before leading the crowd in the call and response chorus of “Dig A Little Deeper.”

The most rocking number of the night, “Objects Of My Affection,” showed the band at its best as showmen. The song’s upbeat, marching drumbeat drew the crowd in immediately before dropping off into an a cappella interlude that brought the crowd even closer. The quiet slowly built into venue-wide hand clapping and finally a strobe-lighted finale that saw Morén running in place, jumping from platforms and swinging his arms.

After a brief break, the band returned with Morén dressed in a new, sweat-free blue and white striped shirt. He waded into the crowd for a throbbing bluesy harmonica solo during “Nothing to Worry About,” even slapping himself in the face on the line “beats me up.”

The crowd finally got what it came for with the encore of “Young Folks.” Morén returned to the crowd, jauntily walking through the audience, singing and whistling that now famous hook.

Peter Bjorn and John played a whirlwind set that left everyone in the audience wondering how they would muster up the energy to play another show less than an hour later. When the last note had faded out, and Morén stayed on stage to sign autographs, the answer was clear: These guys thoroughly enjoy what they do, the ultimate crowd-pleasers to the very end.