A long queue formed outside the legendary Grade II* listed Eventim Apollo. Built in 1932 as a cinema, this Art Deco theatre buzzed with pre-gig energy. The low hum of calm conversation created an electric tension in the air. A sea of people cascaded into the sloping stalls wearing merch and holding plastic pints of cider. With a sold-out crowd, we were all waiting for the Peaches ‘n Kream tour to hit London. We were all as ready as The Black Keys were.
The Black Keys
Eventim Apollo, London – 31 August 2026
Words: Naomi Hefter
Photography: Manuela Langotsch
No bells or whistles, a simple draped red curtain framed the stage and sat centre stage and in Cabaret-style font lit up with individual bulbs, spelt THE BLACK KEYS.
With only a few stage lights, ’70s oil lamps and one disco ball to light the stage, this gig somehow became even more impactful. Songs like Weight Of Love and Tighten Up, with sharp timing and limited colours, created strong moods.
Track after track, song after song, for long-standing fans and those with fresh ears, felt like a journey down Route 66.
The Black Keys are an American rock duo formed in Akron, Ohio, in 2001. The group consists of Dan Auerbach (guitar, vocals) and Patrick Carney (drums). The Black Keys are currently on their Peaches ‘n Kream World Tour 2026 supporting their 14th studio album, Peaches, released on 1 May 2026.
The Black Keys’ energetic yet intricate music draws heavily on bluegrass, garage rock, electric blues, and rockabilly influences. Lead guitarist Dan played a wide variety of vintage guitars, most notably Harmony and National Phonic. With distorted, driving guitar riffs and solos, Patrick on drums provided thumping, raw, and massive beats.
Their blend offered a backbeat dancehall feel, with an almost rebellious edge for all watching.
The Black Keys clearly prioritise instrumental grooves, blues-rock riffs, and studio textures over complex or deep lyrical storytelling. But all tracks, whether at a slow or fast pace, felt a distinct dynamic build. Songs sometimes started almost fragile, with acoustic folk-rock melodies, before dramatically exploding into a heavy, crashing electric guitar rock ‘n’ roll finale.
With so little dancing to be seen, the energy was intensely high. Everyone moved like a cultivated community of head-nodders, showing intense energy purely through rhythmic nodding. With the chosen slower numbers, these tracks featured atmospheric keyboards and sweeping, emotional guitar solos that drew the crowd in like a magnet.
There was a clear sense that the duo’s music is built on a full musical groove and structure before any words are written. As much as lyrics are vital for inspiration, emotional hooks, and deep connections, The Black Keys almost got away with using fewer words, thanks to their rhythmic, deep melodies, which prioritise instrumental grooves, blues-rock riffs, and studio textures over complex or deep lyrical storytelling.
All tracks, whether slow or fast, felt a distinct dynamic build. Songs sometimes started fragile, with acoustic folk-rock melodies, before dramatically exploding into a heavy, crashing electric guitar rock ‘n’ roll finale.
Of course, like most gigs, an encore was expected. But this was unlike any other. With much anticipation, a surge of energy hit like a tidal wave.
The room’s already euphoric state heightened, its excitement intensifying without anyone even moving. There was a palpable shift in the air, triggered by this continuous array of music, that connected everybody in the room almost spiritually.
With loved hits Little Black Submarine and Lonely Boy, the band stripped back Little Black Submarine and slowed things down. The melody had a similar feel to Led Zeppelin’s Stairway To Heaven and had the entire theatre singing along as one.
Ending the gig, they suddenly ripped into the fast-paced Lonely Boy. With arms in the air, dancing as one, this was a terrific way to end such an incredible gig.
Let The Black Keys continue to return again and again.
