A horde of Arctic Monkeys fans gathered outside the Kia Forum Saturday, clad in the quintessential black and white garb dubbed their unofficial uniform after the band’s explosive 2013 album “AM.”  As they lined the arena, posed in front of their favorite album covers and marveling over the song snippets plastered among the pillars, fans couldn’t help but reminisce.

“I feel like now seeing Arctic Monkeys is like seeing Elvis,” said Miguel Escobar, a fan of the band since 2013. “These people are legends.”

The Arctic Monkeys became the touchpoint for a very specific time in the mid-2010s, when American Apparel, Doc Martens, “Pure Heroine” and Alexa Chung dominated everybody’s Tumblr and Pinterest boards. But even ten years later, these songs — and this band — stay just as exciting as they were on first listen.

Promoting their newest release, “The Car,” the band brought their North American Tour to a close with three sold-out nights in Los Angeles this past weekend. “The Car” makes it clear that Arctic Monkeys have allowed their music to grow along with them, bearing a more mature, pared-down tone compared to their earlier records. The tour, more than anything else, celebrates their evolution as a band, acknowledging their progress without overlooking their past. 

“They keep changing their sound,” said Vale Velasco, another fan of the band and concert attendee. “I know it’s not for everyone, but it’s just them doing what they want to do, and I really appreciate that.”

Fontaines D.C. kicked off the night’s festivities with a fiery set and a sound that could only be described as the natural byproduct of a generation raised on shoegaze, Blur and Oasis. The Dublin-based band controlled the crowd with their heavyset guitar and gut-punching drums, turning out hits like “Nabokov” and “Jackie Down the Line” from its most recent album, “Skinty Fia.” After thirty minutes of moshing and swinging to the tune of Grian Chatten’s moody vocals, the crowd was warmed up and ready for the main event.

The lights dimmed, and the arena hummed with the melodic, dystopian synth of “Sculptures of Anything Goes.” Arctic Monkeys frontman Alex Turner emerged from the shadows just as suave as ever; his double-breasted suit, chest-baring button-down and tinted aviator sunglasses boasted a look reminiscent of ’70s French icons like Serge Gainsbourg and Jacques Dutronc, who continue to inspire his work.

Committing to a ’70s influence, the stage’s layered backdrop brought to mind pre-MTV music television like “Top of the Pops” and “The Midnight Special.” As the epitome of a modern-day troubadour, Turner glided through the song’s impassioned melody, hypnotizing the audience with his one-of-a-kind vocals.

With a sudden crash of the drums, like a strike of “Crying Lightning,” the band dove headfirst into “Brianstorm,” setting the tone for a night of head-banging highs and flashlight-waving lows. Turner strutted across the stage with Mick Jagger joints and Elvis-like hip thrusts as he charmed the audience through the career-spanning setlist. Throughout the night, Arctic Monkeys would sway between their more boisterous hits and emotional ballads, a constant ebb and flow between tracks like “Arabella” and “Cornerstone.”

An Arctic Monkeys disco ball towered over the audience, lowering right on cue as Turner crooned the very last notes of “There’d Better Be A Mirrorball,” showering the audience in a mesmerizing sea of flickering light. Followed by fan-favorite “505,” the show came to its apparent close with the theatrical harmonies of “Body Paint.”

After five straight minutes of cacophonous noise from eager, screaming fans, the band was ushered back on stage for an encore. Leading with “I Wanna Be Yours,” nothing could’ve prepared the audience for the energetic whiplash wrought when Arctic Monkeys chose to perform “I Bet You Look Good On The Dancefloor” and “R U Mine?” back to back. The combination had attendees stumbling out of the arena as the six minutes of craze rang out the night with a bang.

Arctic Monkeys have garnered a loyal audience of listeners through their one-of-a-kind, ever-changing style. With a discography ranging from the soundtracks of adolescence to ballads of maturity, their live performances are a testament to the band’s timelessness.

“They’re very unpredictable in a sense. You never know what they’re going to do next,” Escobar said. “They make music for themselves, and I guess it works out.”