Brandon Flowers debuts first solo work

There’s something equally shocking and admirable about the love that the Killers’ frontman Brandon Flowers has for his notorious hometown, Las Vegas.

For the last six years, the talented songwriter has demonstrated his unique ability to craft lyrics that portray a hopeful, somewhat mythical version of Vegas, without ignoring the reality of widespread gluttony that attracts millions to Sin City every year. In each of the Killers’ four studio albums since they erupted onto the American popular music scene with 2004’s Grammy-nominated Hot Fuss, the band has consistently paid tribute to its hometown.

Whether through the Vegas iconography that is sprinkled throughout its songs or the mustached Western cowboy look the band members assumed for its sophomore effort, Sam’s Town, it is impossible to separate the Killers from their roots.

The near nonstop touring since Hot Fuss’ release garnered them mega-band status that finally caught up with the band members this year. In January, the group published a short post on its website announced that it would be going on hiatus. It was during this period of downtime that Flowers, a self-described workaholic, cultivated the idea of developing a solo project and recruited the aid several talented producers, including U2 collaborator Daniel Lanois.

What Flowers has created is an album so dramatically drenched in Vegas lore that it is only fitting that its title borrows directly from the name of one of the oldest casinos on the Vegas Strip — Flamingo.

At once as bombastic and energetic as the previous Killers albums, Flamingo also stands apart from the band’s traditional sound because of Flowers’ willingness to experiment with both his lyrics and his vocals.

A chorus of distant crickets transports the listener to a dusky horizon in Vegas which begins to darken as Flowers’ quivering falsetto causes the blood-red Western sun to set on the city in the introductory “Welcome to Fabulous Las Vegas.” Right away, Flowers’ love for his hometown shines brightly through lyrics backed by religious conviction, such as his description of a crowded boulevard as a “neon-encrusted temple” and a visitor to the city as “looking for God in the arms of a fellow stranger.”

The song is partly mocking the dreamers and harlots for whom Vegas is truly a holy place, yet it successfully steers away from stereotypical Vegas showmanship with Flowers’ stinging sincerity. The Vegas city council might not like it, but Flowers has constructed one of the most accurate and bitingly realistic portrayals of the infamous city — one that should, but will certainly not, play during its famous tourism commercials.

Songs such as “Jilted Lovers & Broken Hearts,” “Crossfire” and “Magdalena,” with their insanely catchy vocal hooks and choruses, further prove Flowers’ ability to create radio-friendly tunes. But listeners who would like to hear a style different from the lead singer’s pre-packaged Killers sound will devour “Playing With Fire,” a moody alternative rock song that slowly builds into a six-minute epic. The wails of the guitar dance with Flowers’ falsetto as he preaches about angels, demons and taking a sip from a “rolling river of truth.” Another song, titled “On the Floor,” concludes with a gospel choir reminiscent of the Killers’ signature track “All These Things That I’ve Done,” but it is Flowers’ Johnny Cash-esque baritone drawl that makes it a must-listen.

Like any hot hand playing in a Vegas casino, Flamingo’s ambition can only last so long before it cools down. “Hard Enough,” the much anticipated duet between Flowers and Rilo Kiley’s lead vocalist Jenny Lewis, is mired in mediocrity and failed potential as Lewis’ voice is overshadowed by a singer who is not used to sharing the spotlight. The album’s worst crime is “Swallow It,” a bizarre pop tune complete with an uncomfortably vague title.

All is forgiven in the album’s deluxe edition featuring four additional tracks. Flowers bounces along to the country ditty “The Clock Was Tickin’” and hints at one of his major influences, Pet Shop Boys, with “Jacksonville,” which grows on the listener after repeated listens.

It does not matter if the Killers ever actually make good on Flowers’ promise to make one of the best albums people will remember 20 years from now. Their place in music history has already been established through the creativity and earnestness that they have developed through an undying adoration for their hometown.