LIVE REVIEW: The Kills, GLU in Portland, ME (06.06.25)
“It’s been a long time coming,” as The Kills took the stage Friday night for their first show in Portland in almost nine years. The show was the kickoff of the tour, which consists of a handful of warm-up headline dates that lead into opening for Queens of the Stone Age, before they pop over to Europe for another run of headliners.
The constant, slow roll of “Kissy Kissy” started things off and surged on as Alison Mosshart and Jamie Hince strummed their guitars in a hypnotic rhythm, playing off each other, their give and take like a rubber band snapping back at one another. Continuing the playfulness, “U.R. A Fever” alternated their vocals over dial tones, with edgy, gaunt guitar chirping at just the right moments.
While The Kills have been a band for almost 25 years, they still manage to keep a little ingenuity while holding close to their signature sound. Having taken a couple of hiatuses, they returned with their first new music in seven years with the release of their sixth album, God Games, in late 2023. Tracks from the album “Love and Tenderness” and “103” had Mosshart growling, slinking, and pacing around the stage like a grey wolf. Highlighting the more tender, gentler notes of her voice, she cooed out, “Oh, oh, oh, keep me on the tip of your tongue” as Hince wailed on classic rock riffs.
“Baby Says” had the duo sweetly singing in unison, complementing the grit with a quiet softness. Mosshart jumped on keys while Hince slapped his guitar to echo and ring out. Jumping down to a riser, she sat pretty, while he sang the end to her in a profession of best friend love.
The edgy and sharp “New York” oozed effortless coolness and a DGAF attitude that pumped up the crowd as Mosshart danced around to the catchy hook. “Wasterpiece” brought the fire with a funky beat and some fuzz; Hince cranked up the distortion, adding depth to the daze.
The simplistic beginning of “Black Balloon” showed a softer side with a lighter melody as Mosshart led the charge on guitar in a beautifully languid ode to letting go. Going back to their playful stage presence, Hince bit at Mosshart to end the song.
The twangy, dancey synth pop “Last Day of Magic” had the audience singing and whirling along like little tornadoes—the deliciously sweet chorus melding with the synth pop backing track added to the high-energy atmosphere.
Hazing things back down, “LA Hex” brought a dark and commanding tone—Mosshart’s warm and gravelly vocals enchanting everyone’s attention. Keeping with the lax vibes, “My Girls My Girls” had a sultry breathiness and a brighter chorus that invited thoughts of summer days in the sun and highlighted the versatility found on God Games.
Since this was their first show in almost four months, it came with a few minor technical difficulties, to which they made light by joking and dancing to a runaway track before properly starting hit single “Doing It to Death.” The sexy, edgy guitar lick and melodious verse brought home the band’s longevity as the pair captivated from the simply lit stage. Followed by forever favorite, “Future Starts Slow,” the edges stayed sharp as guitars wailed in alternation and vocals merged in unison. The palpable energy that Hince and Mosshart exude is evidence enough that they have had fun playing together for the past 25 years.
The high-octane “Sour Cherry” was the shout to get off the ride as it ended the main set with everyone grooving and bopping around. An abrupt end saw the pair off the stage amidst cheers and claps, not ready to go home, and they were right, it wasn’t over.
Lacking in verbosity and exceeding in rocking, they came back on saying their thanks, to which Hince added, “I know this isn’t going to mean anything to you, but I have a new love in my life. It’s that amp, courtesy of Jack White,” before finishing tuning and starting the gentler, “Better Days.” Repeating their cat and mouse game of stalking each other around the stage, Mosshart danced around the stage crooning “Hard Habit to Break,” while a bright guitar cut over a trippy drum loop.
Offering plenty more thank yous and shouting out Portland for the seafood, they added bonus song “DNA” to the encore, “Cus we don’t want to go yet.” “Love, love, love, ’til you got enough. Dance, dance, dance, til’ there’s no one left to hound you,” she cried out, and the feeling resonated around the room.
Ending the way they started, with a gritty, stomping rager, “Fried My Little Brains” was the perfect blaze to end the night on. With just enough pomp, they went out like a flash to a crowd that ate up every last bit before hugging and taking their bows.
Notable Opener: LA’s GLU (Michael Shuman from Queens of the Stone Age, Mini Mansions) took the stage as a one-man act, complete with his synth board, guitar, and loop pedals. Edgy and cool, he blended different elements of rock, pop, electronic, hip-hop, and R&B effortlessly, because who needs labels and genres? Running through tracks like “Cold Sweat,” “Love You to Pieces,” “Night Shift,” and his love song to LA, “Can’t Stop, Won’t Stop,” he took everyone on an auditory time journey, morphing notable sounds of varying decades before launching hard into the 90s with a cover of “Crush” by Jennifer Paige. Ending on his most well-known track, “My Demons,” he successfully pumped up the crowd.
Featured image by: John Hutchings
