I have a confession to make. I love Owl City. I downloaded the free “Fireflies” single on iTunes a few months ago and couldn’t get enough. And while the lyrical content may sometimes taste like bubble gum, I don’t mind. I was thrilled to find out that they would be opening their fall 2009 tour supporting their latest, Ocean Eyes, in my home city of Des Moines. I guess that’s not too far-fetched for a band hailing from Owatonna, Minnesota—a mere three hours away.

The show came last night, and vibe at the sold-out People’s Court was electric—due mostly to the feel of the music (synthesizers and thumping bass tracks abound), but also because of the punches of neon in the wardrobe of the younger pop-centric crowd.

Nashville-based Brooke Waggoner opened the show with a short piano-pop set, followed by the acoustic guitar-driven sounds of Seattle’s The Scene Aesthetic. Waggoner’s unique songwriting provided head-bobbing grooves injected with unexpected chaos, followed by soaring refrains. It was truly a fun set. And the crowd responded very well to The Scene Aesthetic. Despite calling “Iowa” “Nebraska,” their indie sound was catchy, and many followers cheered and sang along with their past single, “Beauty in the Breakdown.”

With anticipation peaked, the lights went dim, a slow, groovy track began, and Owl City took the stage— one by one—to piercing cheers of approval. Though Owl City is the synth-pop brainchild of frontman Adam Young, he brought with him a live band consisting of a drummer, an additional synthesizer player and backing vocalist, a violinist, and a cellist. As odd as the ensemble may seem, the mix of musical dimensions proved ideal.

Knowing that these types of acts are able to tour as a one-man band, complete with a keyboard, backing tracks, and vocals, this is what I expected. But I was met by so much more. The live drums added a dynamic change for many choruses, and the strings pulled on the emotions in the midst of pounding bass and charming harmonies. It’s an interesting juxtaposition they’re playing with—using a delicate violin and cello alongside electronic synth lines.

Young moved about the stage with a sense of geeky-cool humility, completely involved in his music, while provoking the crowd to throw their hands in the air and clap in unison on multiple occasions. Even the string players had a few synchronized dance moves when they weren’t playing. About halfway through the show, the band played the obligatory cover song, but did so in style. Noting that it was a bit obscure, they launched into the theme song from Nintendo’s Wave Race, popular circa 1996. But filled with electronic runs and four-on-the-floor thump, it fit seamlessly.

I caught up with a couple of fans after the show and their impressions were highly positive. Erin Johnson, 24, enjoyed Young’s performance. “I thought it was so vibrant, and his spirit was contagious,” she said. Sixteen-year-old Andy Anderson appreciated the positive, subtle Christ-centered focus. “I have known of his music for a while now, and I expected it to be good. It seems like his focus on God is real and true.”

Walking back to my car after the show, I wondered if a sold-out crowd of loud fans in Des Moines meant future success for Owl City. I started the car and much to my amusement, “Fireflies” was playing on the radio. Coincidence? Maybe. But I think it’s here to stay.