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Will Kyle

Fans sporting tattoos, beanies, backwards hats and dark clothing crowded into the Pageant ready for a sold-out Deftones show. Never have I seen (in recent memory) so many sleeved-up men and women. It made my own tattoos (also on display) seem oddly normal, their counter-culture aspect weirdly nullified by the inky surroundings.

The Dublin, Ireland four-piece Kodaline, previously known as 21 Demands, opened with a set of breezy tunes helmed by Stephen Garrigan's nigh-falsetto vocals. The sound played multilayered and grandiose, like a more alternative rock version of Mumford & Sons, with crashing waves of piano, acoustic strumming and vibrant bass.

Samuel Fickie opened with a set of introspective tunes full of romantic import. His tone was lovelorn with sparkling bits of darkened humor complete with elements of local St. Louis insight twisted atop.

Josh Ritter is simultaneously a music writer's sweetest dream and worst nightmare. His highly narrative and hook-laden songs capture audiences with their stories of angels, devils, gods, nightmares, dreams, historical figures, animals and lost loves.

Both levels of Plush stood packed to the gills with fans waiting to see the blissed-out power of two Canadian male/female electronic duos: the Purity Ring and Blue Hawaii.

Of Mice and Men's ectomorphic lead singer, Austin Carlile, strode on stage and perched atop one of three platforms a group of roadies had set up moments earlier. He smiled a toothy smile as the rest of the band slinked on stage.

While the album's title, "Everything's Fine, America," may be ironic, the music of Last to Show First to Go is anything but.

Sample-stringer and beat-master Corin Roddick began working on arrangements for the Purity Ring while on tour with Gobble Gobble in 2010. Soon, singer Megan James was tapped to add her warm vocals and introspective lyrics (culled from her once private diary) to form an ethereal and haunting brand of indie-pop underscored with an indelible hip-hop methodology.

Female vocals, samples, blips, clicks, beats, love-lorn milieus, melodies and musical formations familiar, yet different -- as if filtered through the air waves of a '70s and early '80s radio station -- played for the ears and eyes of a sold-out crowd at the Pageant for headliners Tegan and Sara.

First, let us get the obvious out the way: I love Kentucky Knife Fight and I'm not the only one. The St. Louis band receives plenty of press from local media and beyond, so why do we need another Kentucky Knife Fight concert review?

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