The Flaming Lips live for the moment, and the Fearless Freaks’ live shows treat each song as if it is the main event. They amplify the emotion as much as possible so that there is a more-than-usual lull between each song as if the band have to once again muster up the energy to make the next one the moment of the concert.

For a full gallery from Friday’s show, visit www.illinoisentertainerphoto.com.

That give-it-their-all work ethic was once again on display as the headliners for WXRT-FM’s Big Holiday Concert. When the 75-minute set came to a close, it was clear the band chose to stick to their proven arena hits rather than focus on introducing the good-sized crowd to their less accessible, more psychedelic offerings of the most recent album, Embryonic. Except for a handful of new songs, the set varied little from the Lips’ appearance at this past summer’s Pitchfork Festival, although the sound at the Allstate Arena was much better.

After the background video screen visually “gave birth” to each band member, frontman Wayne Coyne floated on top of the floor crowd in an inflatable ball in what has become a standard opening gimmick for the Oklahoma City rockers. A confetti and oversize-balloon explosion, combined with the opening notes of “Race For The Prize,” signaled the start of the concert that combined the energy of a rave with the wonder of New Year’s and Christmas eves.

A menagerie of dancing, costumed hangers-on filled each side of the stage, with their energy matched by the crowd for fan favorites “The Yeah, Yeah, Yeah Song” and the much older hit — and mandatory concert rendition — of “She Don’t Use Jelly.” The band once displayed their subtle side with the mellow, orchestrated “In The Morning Of The Magicians,” accompanied by a stunning backdrop of an orange- and red-flecked sunrise video montage.

The momentum came to a bit of a halt during “Yoshimi Battles The Pink Robots,” as Coyne invited a couch-full of VIPs to sit on the stage during a stripped and lengthened synth and vocal arrangement.

Only three Embryonic songs made the set. Opening track “Convinced Of The Hex” was played early with a hard edge, and the Apache-shrieking vocals on “Silver Trembling Hands” reverberated through the arena. A thumping and marauding bassline was the energy behind “See The Leaves.”

The encore — the uplifting track “Do You Realize?” and a cover of “White Christmas” — combined for a memorable ending. Coyne used a megaphone to croon the vocals to the holiday classic as he was accompanied by hand-shaken sleigh bells — with falling faux snow providing highlights to his mop of graying hair.

The much-anticipated appearance by Phoenix was cut far short, as the band cited “a family emergency” for their drummer’s absence. The French synth-pop band’s remaining quartet took the stage under four isolated spotlights and told the disappointed crowd they were going to play “the way we write songs” — acoustically. A drum machine provided beats to three songs (including “Lisztomania”) that minimally resembled the band’s high-energy album offerings.

Pete Yorn provided a spirited 45-minute set, leading a four-man backing band like an acoustic maestro in front of an appreciative crowd. His set largely rocked, taking on additional energy not necessarily found on his recordings. Chiming guitars and a tambourine highlighted “Blackie’s Dead,” and Yorn tugged on the heartstrings with the confessional “Cry For You” off recent album Back & Forth. A cover of New Order’s “Bizarre Love Triangle” was a highlight of the set.

Chicago jazz-rock veterans Nicholas Tremulis Orchestra warmed up the crowd with a high-energy 20-minute set.

– Jason Scales

I admit to having hesitated seeing Phoenix in concert. Bringing their artful, yet precise studio pop to the performance stage seemed as wise as transporting a world-war-trending Risk board from the kitchen to the basement mid-match.

Frontman Thomas Mars presented the biggest worry, the boyish sheen on his voice always sounding slightly enhanced — not vocoded, but aided. Meanwhile, press photos depict four boys, while albums like 2006’s astounding It’s Never Been Like That (Astralwerks) and the new Wolfgang Amadeus Phoenix appear to have at least three guitars going at once, which doesn’t leave many people for all the percussion and keyboarding.

Only half the questions were answered when six Frenchman, who ventured into an apprehensive “Lisztomania,” took the stage at 9:30. The rust wouldn’t envelop the entire song, but already flags were raised as to how faithfully their craft could be reproduced. A murk you’d never associate with their airy, crisp panache stuck to them like spilt cola on movie-theater linoleum. Attribute it to new material: As Phoenix seesawed between tunes from their last two albums, those from the former felt much more fluid. “Consolation Prizes” found new thrust in the John Bonham-like crashing from their touring drummer, while “Rally” raced between tempos with the slickness of the studio version. Mars, bedecked in a decidedly non-Latin Quarter blue polo, pogoed in place while his bandmates filed back-and-forth like setting an offsides trap.

Wolfgang eventually caught up via “Rome” and “1901,” though still didn’t offer the polish of early career cuts like “Run Run Run” and “Too Young.” In fact, the new album’s greatest contribution was its discord, with the ponderous “Love Like A Sunset” giving consternation to newer fans who are just beginning to understand the “art” part of artpop. The whole of the Park West seemed to pause while the band went on the occasional excursion, and I could sympathize.

– Steve Forstneger