CONCERT REVIEW: THE BLACK KEYS | BLOSSOM MUSIC CENTER

The Black Keys’ triumphant return to Blossom Music Center this August felt less like a tour stop and more like a long-awaited homecoming—one twenty years in the making. Though the now–Grammy-winning duo of Dan Auerbach and Patrick Carney have spent the past decade filling arenas and headlining festivals around the world, there’s still something unmistakably Northeast Ohio about them. You could feel it in the air as the sun set over Cuyahoga Falls: this was the return of two hometown kids who proved, in true Steve Martin fashion, that if you “Be so good they can’t ignore you,” the world eventually has no choice but to listen.

And listen they did. Blossom was packed—sold out, in fact—with fans from Akron, Cleveland, and everywhere in between. It’s wild to think that Auerbach and Carney once served as an opening act at little rooms like the Beachland Ballroom and the Grog Shop. Those stages are the size of a Blossom soundboard platform. Yet here they were, standing before nearly 20,000 people, all screaming like this was the biggest rock show of the year.

Fittingly, the evening arrived just as the band released a vinyl pressing of their first-ever performance at the Beachland Ballroom—an archival snapshot of the scrappy two-piece that used to rumble through grimy blues-rock riffs with nothing but a guitar, a drum kit, and a whole lot of nerve. Hearing those crackling, lo-fi recordings now makes their ascent feel even more improbable.

Despite The Black Keys’ status as hometown heroes, Carney admitted in a pre-show interview with CleveRock that he didn’t grow up being a Blossom regular. In fact, he said he’d only attended one show there as a fan. Instead, his Blossom connection came from behind the scenes—he used to work for a catering company that served the artists performing at the venue. For someone who once schlepped backstage trays for touring musicians, walking out as the headliner must have been surreal.

The band leaned into that surrealism—and into their Akron roots—with one of the night’s funniest moments: a staged delivery from Swenson’s, the beloved local drive-in. Midway through the set, a Swenson’s employee rolled out bags of burgers, and Auerbach and Carney proceeded to toss them—lovingly, chaotically, hilariously—into the first few rows. Fans lunged like hungry seals at feeding time. It was pure hometown joy.

While The Black Keys will always be, at heart, a duo, the reality of playing to amphitheater-sized crowds requires a little more reinforcement. Their touring band provided the necessary power, depth, and texture to fill Blossom’s sprawling outdoor space. Extra guitar, bass, and keys expanded the sonic landscape without smothering the core chemistry that has always defined Auerbach and Carney’s dynamic—Dan’s smooth, fuzzed-out guitar phrasing and Patrick’s machine-gun drumming.

Those watching the band tonight—especially longtime fans—might still marvel at how the two scrappy kids from Akron earned praise from some of music’s most celebrated acts. Early in their rise, Radiohead handpicked them as an opener, while The Flaming Lips once toured as their opening act. Even Tim Reynolds of Dave Matthews Band recently told CleveRock that The Black Keys are one of his favorite groups. That kind of admiration doesn’t come lightly, and the band played with the confidence of musicians who have earned respect the hard way.

Of course, the journey wasn’t without turbulence. Their 2024 tour collapse—followed by criticism for participating in a cryptocurrency-promotional show at the Akron Civic Theatre—left some fans frustrated. But the 2025 tour seems designed to reset the narrative: no frills, no gimmicks, just a band reconnecting with the region that shaped them.

A poignant part of that history lies in the origin of their band name itself. It was given to them by Alfred McMoore, a client of Community Support Services in Akron. Today, McMoore’s legacy lives on in an exhibit of his artwork at the Akron Art Museum. Carney, who serves on the museum’s board, told CleveRock he had nothing to do with approving the exhibit and that its announcement genuinely surprised him—a moment that clearly meant something personal and profound.

The night’s setlist blended material from their recent album ‘No Rain, No Flowers’, their radio-dominating hits, and a scattershot selection from their earliest days. The impact felt like a career-spanning mixtape—one curated to keep both the newcomers and the diehards satisfied.

The band opened with a song for the OG fans, the trio of “Thickfreakness / The Breaks / I’ll Be Your Man.” It didn’t take long for them to blast one for the fans that discovered them on the FM airwaves with the third song of the set, “Gold on the Ceiling,” then zigging to a new song, “Wild Child,” before zagging back to one for oldschoolers with “I’ve Got Mine.”

Still, as a longtime fan myself, I felt a sting of disappointment that early standouts like “10:00 AM Automatic” were absent. I love the band’s new songs—they shimmer with a matured craftsmanship—but I’d be lying if I said I don’t miss the gritty, blown-out basement sound of their first records. Loving their new style but missing the old probably makes no sense, but that’s fandom for you.

Then again, I used to lie to my friends and pretend I’d seen the band at Annabelle’s and the Lime Spider back in the day (both now closed), just to sound cool. Maybe my nostalgia isn’t the most trustworthy yardstick.

Other highlights from the show included “Lo/Hi” and “Tighten Up,” both in the middle(ish) of the show.

It’s sometimes easy to forget that none of this—none of this—was a guaranteed outcome. Their commercial success puzzled fans who watched the band climb from $5 shows to festival main stages. Honestly, it even seemed to surprise Auerbach and Carney themselves. But as the crowd roared at Blossom, it became clear: they weren’t just Akron’s best-kept secret anymore. They were a bona fide American rock institution.

One of the most impressive aspects of the show was how accessible it felt. In today’s concert landscape, many acts rely heavily on fan familiarity—if you don’t know the songs, you won’t have much fun. But The Black Keys’ music, with its swaggering grooves and big, blues-soaked riffs, hits instantly. Even first-timers could dance, shout, or simply soak in the atmosphere without needing a crash course in the discography. That’s a rare quality, and the band leaned fully into it.

Visually, the production matched the magnitude of the night. Bright, vintage-inspired lighting, bold backdrops, and sharp video work helped create a stage environment that felt both modern and rooted in the band’s gritty aesthetic.

The boys saved some bangers for the conclusion of the night with set-closers “Howlin’ For You” and “She’s Long Gone,” before returning for their obligatory encore, “Little Black Submarine” and “Lonely Boy.”

As the last notes rang out across Blossom and fans slowly filtered toward the parking lots, there was a sense of communal pride. The Black Keys have played all over the world, but there’s still something undeniably special about seeing them minutes from where it all began. Akron may be in their rearview mirror geographically, but it’s still woven into the DNA of every note they play.

Auerbach and Carney didn’t just come home—they reminded us why Northeast Ohio claimed them as its own in the first place. They were so good, we couldn’t ignore them then. And after this show, we certainly won’t ignore them now.