Fratellis perform on South Street

Jeff Yerger

What do you get when you put three Texans, one Englishman and three crazy Scotsmen on stage at the Theater for Living Arts on South Street? One heck of a concert!

On Sept. 4, the sleepy night-time streets of Philadelphia were no longer quiet but filled with the pizzazz and the energy of the Fratellis and opening band Electric Touch.

Electric Touch got more than their share of love during its 30-minute set.

Hailing from Texas and Nottingham, England, this band made a remarkable impression considering that this is the group’s first tour.

Electric Touch’s self-titled debut album had been released only about two weeks earlier, but it looked as though the band members have been on stage for decades, flaunting the charisma and the swagger that would make even the best bands jealous.

Their cover of the Beatles’ classic “Come Together” couldn’t have been more perfect, and it certainly won over the hearts of the tough Philadelphia crowd.

Next, it was time for the Fratellis to take over the stage and did they ever.

Their new album “Here We Stand,” as well as their major-label debut “Costello Music,” has been a huge success not only in the United Kingdom but in the United States as well.

It’s no surprise that when the lads from Scotland opened up with “My Friend John,” they got the crowd singing and jumping along right away.

Their set included high-octane rockers like “Flathead,” “Henrietta,” “A Heady Tale,” “Shameless,” “Mistress Mabel” and “Tell Me a Lie,” as well as sing-a-longs like “Whistle for the Choir,” “Ole Black and Blue Eyes” and “Acid Jazz Singer.”

The crowd’s reaction to “Chelsea Dagger” (a song recently being played on Amstel Light commercials) was priceless, as they were singing the chorus all night, even before Electric Touch hit the stage.

Throughout their set, the Fratellis played with heart and energy, especially drummer Mince, who channeled Keith Moon and a young Phil Collins in his smooth rolls and extended drum solos.

Apparently, he was suffering from cramps in his legs before the show, but he showed no signs of injury during the set.

The Fratellis drew to a close with the theatrical “Milk & Money,” which was a powerful and dramatic ending to the set before the encore.

The concert-closing anthem “Baby Fratelli” left every single fan shouting and begging for even more.

It couldn’t have been a more fitting ending to the night.

Concertgoers witnessed something special in that small and intimate venue: a band in its prime, only getting bigger with each note.