Kings of Leon

Caleb Followill and the other members of the Kings family once seemed content with updating '70s Southern rock for the new millennium — but no more. Only by the Night is a bid for mass popularity and critical acclaim of the sort typically associated with Chris Martin, not Tennessee-bred good...

By Michael Roberts

October 9, 2008

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Caleb Followill and the other members of the Kings family once seemed content with updating '70s Southern rock for the new millennium — but no more. Only by the Night is a bid for mass popularity and critical acclaim of the sort typically associated with Chris Martin, not Tennessee-bred good ol' boys. "Crawl" booms with effectively rendered Euro-centric arena ambitions, while "Be Somebody" somehow manages to make George-of-the-Jungle drums seem propulsive instead of dopey. Elsewhere, unfortunately, the Followills' commercial quest leads them in too-obvious directions. "Revelry" dribbles their early influences with drecky "oooh-ooohs," and "Use Somebody" sounds as if it was composed to accompany a shot of an emotional Izzie storming down a hallway during a very special episode of Grey's Anatomy. Such is the price of fame.

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Michael Roberts began his career with Westword in 1990 as music editor. In 1999, he took on a new role, full-time media reporter, as author of a column called The Message. In 2008, he became the lead writer for Westword's news blog, The Latest Word, a position he held until January 2023. Michael continues to freelance for Westword, covering everything from business to sports and the media; he also contributes to Jazziz, a national music magazine. He holds a bachelor's degree from what is now Colorado Mesa University and master's degrees from the University of California, Los Angeles, and Northwestern University.

Contact: Michael Roberts

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