On Editors [ tickets ]' 2005 debut, "The Back Room," lead man Tom Smith proclaims: "Blood runs through your veins, that's where our similarity ends." Although he was making a more philosophical observation, Smith could just as well have been talking to Editors' latest tour mates--the peppy pop Canadians Hot Hot Heat [ tickets ] and glam retro-rocking San Diego-based Louis XIV [ tickets ].

The UK's somber-minded Editors kicked off their North American headlining tour on Tuesday night (1/8) at Fort Lauderdale's Culture Room to a genre-defying crowd that was so jam-packed, its fans could hardly get a clear view of the stage, much less have enough elbow room to sip their beers.

Editors have always been revered as a must-see live band, whose performances surpass the attempted grandiose arena-spirit of their albums, and tonight proved they are upholding that reputation. Over the past three years, however, the group's onstage demeanor and delivery hasn't changed much, if at all. In a pale gray button-down shirt and dark jeans, the frail-looking Smith moved around sporadically, like a Michael Stipe and Ian Curtis-protege, while he passionately sang in a perfect baritone about the most melancholy aspects of life. Somehow, Editors managed to take their heavy-hearted words to an adrenaline-pumping atmospheric place, which seemed mostly due to the brilliant and bright guitar displays from Chris Urbanowicz.

Whether it was Smith, or the audience, that was hypnotized was hard to tell as sharp darts of lights protruded from the stage and the band ripped into a fiery version of "Bullets," the first single from "The Back Room." Although Editors devoted most of their set time to 2007's "An End Has a Start," it was clear that their earlier hits ("Munich," "Bullets" and "Blood") earned the most excitement from the crowd. Switching seamlessly from guitar to piano throughout the show, Smith had little to say to the fans other than a few thank you's.

Acknowledging specific cathartic moments at an Editors show is like trying to count how many times Pete Wentz does his famous jump-spin during a Fall Out Boy gig--you know there were a lot and it kind of made you dizzy, but overall it was invigorating. From the cramped audience to the massive sounds onstage, everything about this show felt like it was being forced to fit into a smaller size than it required. Seeing Editors in a small club feels like watching a kid riding a bike with training wheels when he's long outgrown them. In style and sound, Editors appeared ready for the next big step.

Hot Hot Heat may have been the most seasoned of the two opening acts, but Louis XIV brought the most spark and intrigue to the stage, presenting songs from their forthcoming album, "Slick Dogs and Ponies," due out Jan. 29. Front man Jason Hill's more-chatting-than-singing lyrical delivery can get tiresome, but the band has a newly refined vibrancy, replete with string-heavy experiments, that brought an added dimension to this group, who could have easily become just another catchy rock outfit.

The band's fashion sense has also taken a sharp turn from uber-pretentious attitude and heavy eyeliner to a more relaxed, shaggy folk sophistication. Wearing black jeans, fedoras, vests and button down shirts, the band sipped red wine between their well-polished songs. Two violinists joined the four members for the entire set, adding a distinct fullness to their rock melodies.

Louis XIV's latest material is so dramatically different from their previous work that, when the band played "Finding Out True Love is Blind," the 2004 hit from the "Illegal Tender" EP, it almost seemed amateur. Of the band's shift in sound, Hill said: "I wanted to use strings as much as guitars on this album." This gig was evidence that the band has taken a giant creative step forward.

Perhaps it was due to their extensive touring schedule this past fall or just opening night quirkiness, but Hot Hot Heat seemed to be the most fatigued and lackluster of all the performers. Wearing a plaid button down, vest and jeans, Bays was working his usual Mick Jagger prance and flair, but something seemed too routine about the whole presentation. Plowing through hits "Bandages," "Let Me In" and "No, Not Now," Hot Hot Heat entertained the masses with what ended up feeling like a blend of monotone happy numbers, but didn't offer anything overly stimulating. Despite the ho-hum factor of his own performance, the good-spirited Bays seemed genuinely excited about being on the bill. "We just did this same tour run recently as headliners, but I like the fact that we're part of a scene now that it's three good bands touring together. It's more like ‘the place to be,'" he said.

While the similarities of these three groups may be cut down to the fact that blood runs through their veins--and, oh yeah, they all wear black--it definitely felt like the place to be when Smith desperately repeated his final chorus, "Keep with me," from "Fingers In the Factories" off "The Back Room." It seemed like this was a plea to his onlookers, but the truth was, keeping with him was the only thing every sweaty body in the place seemed to want to do at that moment.