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Bogart’s notorious blue stage lights have never been as fitting as they were when Jack’s Mannequin performed their hit “Dark Blue” during the encore of Friday night’s show.

The opening act, Jukebox the Ghost, gave a more subdued, piano-fueled performance that was light and fun to watch.

But when Andrew McMahon, the lead singer and songwriter of Jack’s Mannequin, took the stage, he captivated the audience with his distinctive showmanship and unrivaled piano skills.

Jack’s Mannequin came to Cincinnati and consumed it in a flashy show of brilliant lights and high fervor.

Fans of all flavors came out to watch the quartet. First, there were the kids sporting their brand-new band shirts who were no more than babies when the band released their first album in 2005, and were now accompanied by less-than-amused looking parents.

Then came the childless 40 somethings yearning for the kiss of youth.

Finally, there were those of us in our twenties who had been fans since middle school, and craved the nostalgic retrospection of a time when piano pop rocked the mainstream.

“Did you hear this song? This guy makes the piano sound cool!” my friends would scream.

Guitarist Bobby Anderson and McMahon’s energizing harmonies roused the raucous audience, while Jay McMillian and Mikey Wagner kept it cool on the drums and bass.

McMahon, bold and brave, stood on his piano’s keys to drown out the sound of screaming fans and pump life into his bandmates. McMahon has come a long way from his battle with cancer, but his musical style still tastes of resilience and a warm summer day in Orange County.

Bogart’s stage was almost setup as if it were a living room jam session. A lamp stood by the piano, and two more were positioned on either side of the stage. But these were no ordinary lamps — these changed colors and tones while beaming their light up to the disco ball that flooded the venue with millions of tiny dots.

The crowd jumped as one flowing body to tones while beaming their light up to the disco ball that flooded the venue with millions of tiny dots.

The crowd jumped as one flowing body to “Amelia Jean”, cameras flashed with a fury as McMahon pounded away on his keys during “Hey Hey Hey (We’re All Gonna Die)” and the multifarious fans gave no mercy singing along with “Swim” and “What Gets You Off.”

When Mahon dipped into his more melancholic pieces, the lights focused on him, and the other band members were drowned out by the darkness.

The audience, moved by the unearthly lighting, grew softer as they sang, but my stereo was stronger than ever.