The Paper Kites’ concert at the historic Fonda Theatre Tuesday night, March 5, was nothing short of transformative, as they transported the audience from the heart of Hollywood to the soulful ambiance of The Roadhouse in Campbells Creek, Australia.

The sold-out venue buzzed with anticipation as the lights dimmed. With the warm, colorful lights behind her reflecting an ethereal glow on her skin and auburn hair, the opener, Bella White, took the stage alone wearing juxtaposing black buckle boots and a flowy, gingham dress.

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White played an amped acoustic guitar during her set that was filled with hits like “Burn Me Once.” The yodellike inflection combined elements of country with vulnerable folk, resulting in her idiosyncratic blend. Reverb and echo allowed the lyrics and melodies to linger and fill the space, and audience members responded by swaying to the beat and closing their eyes to embrace the moment.

Incense burned as the house lights slowly faded. The revealed silhouettes of the eight band members, as opposed to the regular five, added a sense of mystery to the anticipation. Lead vocalist Sam Bentley strummed the introduction to “Between the Houses,” silencing the audience with his soft, emotive voice.

The lighting mirrored the intensity of the song while other instruments joined in, creating an auditory and visual experience for the song’s build. Bentley transitioned to the harmonica for the bridge, beautifully evoking emotion. At the strum of the last chord of the song, the audience cheered, returning the energy of the performance to the band.

With seamless grace, the band transitioned into their next melodic journey of “Till the Flame Turns Blue.” Each instrument — the guitars, organs, pedal steel and percussion — layered impeccably. The vocals joined in at a similar volume, balancing the voices as an instrument. Toward the coda, the vocalizations and electric guitar reprise tangibly engaged the fans’ energy.

Bentley welcomed the audience as the band adjusted their mics and made minor tuning adjustments, responding to the theater’s acoustics. Bentley reminisced about their prior performance at the theater, recalling a modest audience of around 500, and admired the sold-out venue. He also elaborated on how the album came to life in Campbells Creek, transporting the audience to the rustic roadhouse where their monthlong residency occurred and they created their album.

Soon thereafter, the blue lights darkened and Bentley counted off before the guitars began “Hurts So Good” in unison. The backlights radiated like golden rays of sunshine, creating a comforting warmth to complement the song. The Paper Kites impressed with their musical talent and impeccable range.

The set list proceeded with “Nothing More Than That,” “Green Valley,” “Tenenbaum” and “I Don’t Want to Go That Way.” David Powys switched out his instrument after nearly every song and Christina Lacy shifted between keys and vocals, showcasing their versatility as musicians.

Bella White returned for “Never Heard a Sound” alongside Bentley while the rest of the band cleared the stage. The two stood intimately around a new mic that better captured the sound of multiple voices. The two voices complemented each other well, particularly highlighting their tonal qualities during harmonizations.

White blew a kiss goodbye, and the roadhouse band members joined Bentley around the same mic with their plethora of different instruments. At this point, Bentley, Powys and instrumentalist Matt Dixon began the iconic intro to “Bloom,” eliciting massive cheers for the recognizable melody. Arguably their most well-known song, their performance was tear-jerking and brought the captivated audience to respond with high energy.

The show was split into two sets separated by a spoken interlude. Previously shared on their social media to announce their upcoming album, the poetic piece rested upon an ambient guitar tune.

When the band returned for the second set, their vocals reflected the rock side of their genre. During both “June’s Stolen Car” and “Without Your Love,” there was a larger emphasis on the electric guitar and little to no stillness onstage. Again, this compounded the spectacle, further convincing the audience of their musical range.

Following these high-energy songs, Bentley introduced each member of the band before presenting “Good Nights Gone” and “Black & Thunder.” This shifted the tone once again, incorporating elements of blues. Then the mood turned somber with a cover of Adrianne Lenker’s “anything” accompanied by lullabylike harmonies.

The concert concluded with the smash hit “Paint” and the last song on the album, “Darkness At My Door.” With hardly a phone in sight, the audience engaged respectfully yet responsively, immersing themselves in the music. At the end, the audience screamed, “Encore!” before the band returned to perform “By My Side” and finally “Electric Indigo,” which included dreamy melodies and a beat that yet again coaxed the audience to dance.

The Paper Kites welcomed fans onto their intentionally crafted, comforting journey. The familiar tunes and folk melodies find unity with the band’s energetic rock sound, inviting each audience member to appreciate their diverse repertoire. The Paper Kites’ concert was not only a performance to celebrate their new album, but a timeless journey of connection and shared moments.