Alarm Rings Too Much Like U2

It’s normal at a concert to wish you could see an act at a smaller hall, but when was the last time you wanted to see what a band would be like in a bigger setting?

That was the curious effect Thursday at the Universal Amphitheatre as the Alarm strained so hard to be big and important that even the fairly spacious 6,000-seat facility seemed too small.

The Welsh quartet (augmented by a keyboardist Thursday) started life several years ago as sort of a semi-acoustic junior Clash before transforming into kind of U2 II. At the Universal, nearly every song was an anthem and every gesture seemed intended to rouse and inspire--the kind of approach that virtually requires vast expanses.

Does the Alarm really merit the popularity it needs to become an arena regular? It could certainly do worse in choosing its role models, and its rabid fans--primed for positive, powerfully delivered messages by U2 et al--could do a lot worse in picking bands to follow. Singer Mike Peters generally avoided being just another Bono clone (though there are similarities in vocals and mannerisms) and songs like “Strength” and “The Stand” are forcefully presented messages of hope and calls to spiritual arms, respectively.

But while the energetic songs are rousing, they are rarely touching, and the emotions are no more subtle than the band’s influences. Before the Alarm makes the leap to the arenas, it needs both to refine the epic tendencies in its lyrics and develop a sound that is more its own.

On the other hand, opening act Lions and Ghosts needs to go back to the club circuit for some work. The L.A. foursome’s blend of pre-Ziggy Bowie, T. Rex and contemporary Anglo guitar rock--though effective on its handsomely produced debut album--seemed thin on stage. But mostly the band needs to gain a little charisma--and lose a lot of attitude.