As full as Santa’s sack

The Killers were KROQ’s secret-Santa gift to fans on Sunday, the second and final night of the radio station’s annual Almost Acoustic Christmas show at Gibson Amphitheatre. The Las Vegas group’s surprise appearance perfectly represented this event’s edgy traditionalism: On a stage festooned with brightly lighted Christmas trees, singer Brandon Flowers begged for mercy from a trigger-happy Kris Kringle during a performance of the band’s latest holiday single, “Don’t Shoot Me Santa.”

It was a moment of campy alterna-fun that contrasted sharply with other Killers numbers, such as the icily passionate and desperate “Somebody Told Me.” But the KROQ version of holiday spirit has always embraced such disparities while celebrating the popular bands that captured its young listeners’ ears during the year and helped keep its tastemaker reputation intact.

Other than the highly anticipated closing set of ever-shifting grind and sprawl by British “new prog” group Muse, the audience’s stocking this night was stuffed mainly with quirky pop-rock. Flavors of the ‘80s abounded, as almost every act sported at least one synthesizer or keyboard. There were echoes of the glorious gloominess of Joy Division and the Cure, along with sunnier styles such as power pop. But these are, after all, the sounds of the times once again.

Canadian singer-songwriter Feist (a.k.a. Leslie Feist) and her band were among the more musically compelling acts, with their blend of sincere olde folk and modern-rock drama. Along with such originals as the melodically mournful “When I Was a Young Girl” and the singsong hit “1234,” Feist performed a version of Nina Simone’s “See Line Woman,” concluding with a soul-ripping vocal that briefly brought down the house.

Spoon, at times abetted by a horn section, showed off its diversity in an energetic opening turn. The Austin, Texas, quartet shifted nimbly among the pulsating reverb of “The Ghost of You Lingers,” the taunting funk of “Don’t You Evah” and the soul-poppy “You Got Yr. Cherry Bomb.”

Spoon’s tense, staccato “I Turn My Camera On” strongly recalled the eccentric jams of Modest Mouse, whose leader, Isaac Brock, arrived on stage adorned with two red gift bows. The sextet plunged gleefully through such cheery selections as “Please Bury Me With It” and the dub-dusted, strangely optimistic “Dashboard.” But the set felt abruptly truncated, possibly because it directly followed the Killers’ unannounced appearance. Some adjustment, apparently, had to be made to keep the five-hour show running on time.

The Silversun Pickups came on stage to a snippet of music from the classic TV special “A Charlie Brown Christmas,” but the local quartet’s dream pop didn’t always distinguish itself. The buzz and rollick of “Lazy Eye” was a highlight, and singer-guitarist Brian Aubert ended the set by dashing around the amphitheater before heartily endorsing the Shins.

Another crowd favorite, the Portland, Ore.-based Shins, had its own twist on folky pop, with a sound that was almost ‘60s-classic except for singer, songwriter and guitarist James Russell Mercer’s thoroughly modern, and not especially mellifluous, vocal style.

Arizona alt-rock band Jimmy Eat World’s surprisingly pleasing blend of punk and indie styles ended up sounding almost traditional. Such emotional numbers as “Blister,” “Let It Happen” and “Disintegration” managed to be questioning and angst-ridden yet not self-indulgent.

Finishing up in their slot as the second-to-last band on the bill, lead singer-guitarist Jim Adkins -- like the Silversun Pickups’ Aubert -- also heartily endorsed the next act. But he also had a special reason to be grateful. “Thank you for not making us go on after Muse,” he said with a grin.