Welcome to The Set List. Here you'll find the latest concert recaps for many of your favorite, or maybe not so favorite, artists. Our bloggers will do their best to provide you with every detail of the show, from which songs were on the set list to what the artist was wearing to which out-of-control fan made a scene. Hey, it'll be like you were there. And if you like what you read, we'll even let you know where you can catch the artist on tour. Feel free to drop us a comment and let us know your concert experience. Oh, and rock on.

By Julian Ring
Cleveland

Who is the average Black Keys fan? I thought I knew. To say the blues-rock duo's audience consists primarily of white males in their 20s and 30s wouldn't be inaccurate, and prior to the band's Sept. 6 concert in Cleveland, I would have expected as much; White Stripes holdovers, sincere blues aficionados and garage-rock enthusiasts could have easily filled Quicken Loans Arena to capacity. Yet this stop on the band's latest tour — behind their eighth studio album, the ambitious Turn Blue — signaled the dawn of a new era for the Keys' appeal.

Now nearly 14 years into their career, the Black Keys have grown from a raw two-man act into a Danger Mouse-produced institution, adding lush instrumentation and increasingly catchy melodies to their Ohio-borne, grit-earth rock. And as the size of their headlining tours grows along with their repertoire, so has the diversity of their fanbase. At their 2012 performance at the Coachella Valley Music and Arts Festival, fans likely didn't see a 7-year-old girl playing air guitar along with Dan Auerbach's piercing solos. On this night, a young fan was loud and proud, cheering and pumping her fist as if to say, "These are my rock and roll heroes" — while her father, the good sport that he was, tapped his foot along with Patrick Carney's spastic, plodding rhythms.

Their set list was short yet backed with classics and rarities. While the Black Keys largely skirted around Turn Blue's deeper cuts, pulling out fan favorites such as "Your Touch" and a surprising "Leavin' Trunk." Equally unexpected was a cover of Edwyn Collins' "A Girl Like You," performed under hot-pink rotating psychedelic lights and sounding bluesy enough to be a selection from their own catalog. Newer cuts, including "Gold On The Ceiling," as well as 2010's Brothers highlights "She's Long Gone" and "Howlin' For You" provoked the crowd into a frenzy of shouted choruses as the band's elaborate lighting rig pumped the dark arena full of white heat.

Somber guitar and soulful vocals converged during "Little Black Submarines," the night's dramatic centerpiece and the best display of Auerbach's unvarnished musicality. As he sang the lyrics "Everybody knows/That a broken heart is blind," Auerbach (who is reportedly happy married with kids) sounded as if he was delivering this revelation in the midst of retreat, having returned from some deeply wounding romantic encounter.

"We'd like to thank [the Cleveland Cavaliers'] LeBron [James] for letting us use his house for the evening," Auerbach joked early in the night. Such a titanic comparison wasn't the least bit unwarranted as basketball's biggest star likely didn't mind a stopover from one of rock's biggest bands. And judging by the eager screams and camera flashes when the Black Keys concluded their first set, neither did the rest of Cleveland.

Set List:

"Dead And Gone"
"Next Girl"
"Money Maker"
"Run Right Back"
"Same Old Thing"
"Gold On The Ceiling"
"It's Up To You Now"
"Strange Times"
"Nova Baby"
"Leavin' Trunk"
"Too Afraid To Love You"
"A Girl Like You" (Edwyn Collins cover)
"Howlin' For You"
"Gotta Get Away"
"She's Long Gone"
"Fever"
"Tighten Up"
"Your Touch"
"Lonely Boy"

Encore:
"Turn Blue"
"Little Black Submarines"
"I Got Mine"

Catch the Black Keys on tour in a city near you

(A music journalist from the San Francisco Bay Area, Julian Ring is an alumnus of the Medill Northwestern Journalism Institute and currently studies English and rhetoric and composition at Ohio's Oberlin College. His work has appeared in Rolling Stone, The Wall Street Journal and The Oakland Tribune, as well as on GRAMMY.com. Ring currently serves as a staff writer at Consequence of Sound and is the managing editor of his college newspaper, The Oberlin Review.)