I first saw the Black Keys at Boston’s House of Blues in 2006. Maybe you were there.
Somehow, what sounded like the fat noise of five grizzled blues vets blasted from two gawky college dropouts from Akron, Ohio. They shook the walls. We howled for more. That scuzzy blues-rock of their then-recent albums “Rubber Factory” and “Thickfreakness” felt like a magic trick.
In the nearly two decades since that show, the Black Keys — childhood pals Patrick Carney (drums) and Dan Auerbach (vocals, guitar) — have dabbled in countless other sounds: sleek pop, early ‘70s rock, psychedelia, hill country, and somber acoustic ballads.
Earlier this month, the band delivered its 13th LP, “No Rain, No Flowers‚” which spans spans Philly soul to ‘60s rock. The record helped the pair move past a stormy 2024 that saw them split with their management and cancel a North American tour supporting last year’s album, “Ohio Players.”
Carney, 45, recently called the Globe from his South Carolina home to chat ahead of the band’s show this Saturday at MGM Music Hall at Fenway.
Q. For the new album, you worked with songwriter Rick Nowels in Nashville. The title and overall vibe feels like, “I’m down, but coming back.” Especially songs like “Down to Nothing” and “The Night Before.”
A. That’s a lyrical theme on a few songs. After the [expletive] we had to traverse last year — it was heartbreaking. Because “Ohio Players” was a record we’d put so much time and work into. It’s probably, for me, [one of the] top three albums we’ve ever made. I just felt like the album was cursed. So we made another one.
We reached out to Rick, and it was a masterclass. Rick said, “Come to the studio with titles.” One of the first songs we wrote was “No Rain, No Flowers.” Dan had the title; we reverse-wrote the song.
Q. You said this album was influenced by your “Record Hangs.”
A. We’ve been doing these “Record Hangs,” where we take our 45s and basically throw a dance party. We don’t call it DJing because we don’t beat-match or any of that [expletive]. It’s really about showing an eclectic mix of music. This record is representative of all the things we’re listening to. “Man on a Mission” is, I don’t want to say boogie rock, but the kind of rock Dan and I prefer to listen to most of the time is that magical moment between ’69 and ’74.
Q. The homemade feel of your “Man on a Mission” video reminds me of your “Lonely Boy” video, which took over the Internet in 2011. Bob Odenkirk was supposed to be in that, but instead, it’s three minutes of a security guard dancing. Was he an actor?
A. He’s an actor. I’m still in touch with him, Derrick Tuggle. The real story is we hired Bob Dylan’s son to direct the video — Jesse Dylan, super nice guy. We spent two days shooting this video, starring Bob Odenkirk. But it was just kind of clunky.
We remembered, distinctly, this extra. We knew they got a whole take of him dancing — somehow he’d memorized the lyrics after one listen. We said, “That would be great — just that.” It took a lot of convincing. But it’s still our most popular video. We essentially spent $85,000 to make that.
Q. You two have known each other for about 35 years. You met when you were 9 and Dan was 10.
A. He lived five houses down from me, in this little enclave in Akron. It was closed-off, [with] little traffic, so kids had freedom. There was a park, a ravine — we’d venture into the woods and set firecrackers off, play stickball. It was very “Stand By Me.”
I knew Dan from trading baseball cards and stuff, but he was quiet, played soccer. Then in high school, our younger brothers knew we were into music and said, “You guys should get together.” Dan came over with his guitar, mentioned he was into R.L. Burnside. I said, “Oh, I have an R.L. Burnside record.” His eyes lit up. . . . I wasn’t even a drummer. It just became us learning our instruments, how to write songs. It’s been like that ever since.
Q. What started you on drums? I read that you cut off part of your pinky finger, which hindered you on guitar.
A. I cut the tip of my left pinky cutting carrots. I’d lied about my age to get this dishwashing job — they thought I was older, so they let me start cooking. . . . I lost feeling in my pinky. Playing guitar felt weird. I worked my ass off to buy a cheap drum set and four-track cassette recorder. My friends would come over. Half the time I was the worst guitar player there, so I’d get sent to the drums throne. Which was fine — I just wanted to make something cool.
Q. Was that chemistry there between you and Dan from the start?
A. From the start. Partly because I didn’t know how to play drums. It wasn’t until we started working with [producer] Danger Mouse that I even considered trying to keep straighter time. Then we got to this point, after four albums: “What if we didn’t consider how we could play it live as a two-piece?” And that’s when we started getting successful. [laughs]
I’ve always said, as long as I’m making something I like, I’ll be fine. The one thing we’ve never done is make something we don’t like just to resonate with a bigger audience. That’s how you make a lot of money. For me, that would be the definition of selling out.
Q. Any Boston memories?
A. My greatest Boston memory: We were on a van tour during the “Thickfreakness” era and showed up at the Paradise [Rock Club]. The owner’s like, “Al Kooper wants to come down and jam.” And he came down! He lugged his entire B3 into the club.
He said maybe two words the whole night, played the whole set with us, packed up and left. I’ve never talked to him again. He probably thought we were smug assholes, but we were just incredibly shy. We were 23.
Interview was edited and condensed.
THE BLACK KEYS
With Gary Clark Jr. At MGM Music Hall at Fenway, 2 Lansdowne St., Boston, Saturday, Aug. 16, 7:30 p.m. Tickets: $80 - $114. crossroadspresents.com
Lauren Daley can be reached at ldaley33@gmail.com. Follow her on Twitter @laurendaley1 and Instagram at @laurendaley1.