Phoenix duo Nate Ruess and Sam Means built The Format on big harmonies, bright chords, and candid lyrics.

Phoenix roots, pop smarts

They went quiet after 2008, with Ruess forming fun and Means moving into design and solo work, so any return carries the air of a long pause. Expect a lean, melodic show that nods to Interventions and Lullabies and Dog Problems, with The First Single (You Know Me) and She Doesn't Get It almost certain to land. You might also hear The Compromise and On Your Porch, songs that let the room sing the countermelodies.

Who shows up and why it works

The crowd trends mixed in age, from long-time fans who found the band in dorm rooms to younger listeners who arrived via fun and stayed for the craft. A neat bit of history: the band released Dog Problems on their own imprint, The Vanity Label, after splitting with a major. Those punchy horn lines were tracked live on the record, which is why the parts feel like a small pit band instead of samples. Treat any song order, guests, or lighting cues mentioned here as informed speculation that could change on the night.

The Format Fans: Bright Hooks, Warm Nostalgia

This scene leans friendly and detail-minded, more likely to compare bridges than to chase pits.

Power-pop dress code, low drama

You see thrifted band tees from the 2000s, striped knits, and clean sneakers, plus a few floral prints that nod to the group's lighter side. Merch tables move posters and vinyl reissues of Interventions and Lullabies and Dog Problems faster than novelty items. People clap on the twos and fours, and you hear countermelodies in the room, not just the top line.

Sing it like you mean it

Chant moments arrive naturally: the "you know me" echo in The First Single (You Know Me) and the rolling "ba ba" figures in She Doesn't Get It. Couples and friend groups share verses, then step back for big hooks so the blend stays sweet. The vibe is communal and calm, built around melody, memory, and a band that rewards listening.

How The Format Build Big Choruses From Small Pieces

Nate Ruess rides a clear, high tenor, and the band frames it with crisp guitar jangle, piano vaults, and handclap-ready drums.

Harmony first, sparkle second

Sam Means toggles between chiming acoustic and keys, often capos high to keep the chords bright while leaving space for the voice. Arrangements favor tension and release: verses sit tight, pre-choruses lean forward, and choruses open wide so three-part harmonies can lift. The rhythm section keeps tempos brisk but not rushed, letting crowd vocals slot in without smearing the beat.

Little choices, big payoff

They sometimes sneak a last-chorus key lift instead of just playing it louder, which makes the hook feel like it truly rises. Expect real horns or well-built stems on Dog Problems cuts, blended so they color the edges rather than drown the core. Lights tend to follow the music first, using warm primaries and quick white pops to mark hits, not to overwhelm.

Kindred Company for The Format

Fans of fun will connect with Ruess's tenor and the communal shout hooks that bloom in big choruses.

Kindred hooks and voices

Bleachers fits for the mix of bright 80s color and earnest pop writing, plus the Ruess–Antonoff history. Hellogoodbye brings sunny synths and tender storytelling, and their fans favor sing-along bridges over rough-and-tumble pits.

Pop hearts, live lungs

If you lean piano-forward and wordy, Ben Folds scratches the same itch with sharp wit and tight band moves. People who like these acts tend to prize melody, clever turns of phrase, and shows where the audience becomes a choir. That overlap maps neatly onto The Format's world.