LIVE REVIEW: Kaleo, Quarters of Change, Júníus Meyvant in Portland, ME (09.10.25)
“Can’t fight the temptation, when you get the vibration” and why would you want to when the vibrations Icelandic blues rock crooners Kaleo put out in their live show are so seductive, infectious, and toe tapping? No strangers to the State Theatre stage or Portland, Kaleo put on an hour and 20-minute mid-week reverie to a pleasantly crowded room.
Starting strong with tantalizing “Bloodline,“ the band (consisting of drummer Davíð Antonsson, bassist Daniel Kristjánsson, lead guitarist Rubin Pollock and harmonicist Þorleifur Gaukur Davíðsson) gathered amid twangs and twiddles before lead singer, guitarist Jökull Júlíusson emerged. The characteristic throaty growl started early throughout the rhyming verses.
Taking a second for things to simmer down before steaming them back up in a smooth transition, the “ooh-ooh-oohs” of “Break My Baby“ cried out. The band was awash in soft, sunlike rays of lighting that set the gentle, falsetto tone.
Continuing with the breaking theme, “Broken Bones” started with a melodica from Davíðsson and some crescendoing claps. As the song carried on, more and more elements and layers were added until the climax of an electric harmonica solo leading into a round.
“I Can’t Go On Without You” brought on the resonator, complete with fingerpicking, and some silky-smooth slide guitar. A desolate whistle over harmonica eased into the forlorn vocals. The highs and lows wavered throughout, culminating in a delicate falsetto coo, leaving a sense of longing that was soon reawakened by the lovestruck “All the Pretty Girls.” A mandolin and an acoustic chorus sing along carried the tune to the back of the room as everyone reveled in the beauty and innocence.
The twangy folk guitar of “Automobile” had people swaying along until joining into the harmonic a cappella bridge in an obvious crowd favorite. The dancier “Hey Gringo” upped the tempo with a steady groove and a melodica solo that kept everyone riveted.
Keeping up the pace, “Hot Blood” kicked it up a notch with a Flying V guitar. Rocking out to the, “get up and get up and get up again,” JJ called out, “Come on Portland, get up now!” which was enthusiastically obeyed. A drum and bass jam built from the song’s conclusion as JJ left the stage to let the band play. The other members of the band joined in slowly until a full jam session raged on to its highest peak.
The Spaghetti Western sound of “Lonely Cowboy” brought JJ back on acoustic guitar for a softer side. Drums like a gently trotting horse kept the rhythm slow and steady.
“This next one, we like to do in our native tongue,” he said before “Vor í Vaglaskógi,“ a pretty poem about enjoying Spring sung in Icelandic. The soft guitar melody adding an almost ethereal and sensitive tone that had fans in full attention.
Mixed Emotions track “USA Today” brought out a heavier, vibrating bassline to complement the assertive lyrics. The scorn continued with “Skinny,” and a tinge of country blended with the raspy rock.
The solemn keys lead into breakout single, “Way Down We Go.“ Still holding up over a decade later, the track highlighted JJ’s vocal prowess and ability to jump from the gravelly growl to gentle “oohs” effortlessly. Keeping with the A/B singles, barn burner “No Good” brought the stomping, clapping, and hootin‘ n hollerin‘ as the band raged on stage. They slowed things down for a little outro jam before walking off to the wings.
Emerging back on stage, JJ called out, “Woo, you guys ready?!” before launching into the amped up “Back Door.“ A firecracker of guitars racing off for the start slowed down very briefly for some crooning before speeding away to a crowd mimicry. A chilled-out breakdown wrapped it before the hard hitter “Rock ‘n’ Roller“ threatened to cause the whole thing to derail. For the last track, the band played hard and fast, the hooks and screams intensified. Ending on a wail, the whole thing ended in a bang.
Notable Openers: Solo artist Júníus Meyvant, also from Iceland, kicked things off with him and his acoustic guitar. His setlist featured gentle, folk music that would be the perfect soundtrack to a nature documentary, despite his quip that he, “Comes from a town with a lot of boats and men who drink who want to knock you out.“ Meyvant also brought out Kaleo’s Rubin Pollock for a little accompaniment.
New York City’s Quarters of Change came second and oscillated between moody grunge, danceable pop rock, and alt rock. Their youthfulness radiated on stage and had younger fans screaming along to “Blue Copper” and “T Love.” They ended on the anthemic “Keep My Blood.”
Featured image by: Vertigo Live
