Daughtry gets lost in the dullness of it all

His bandmates didn’t do much to change that, though they certainly weren’t helped by mostly languishing in muted stage lighting while the singer himself remained fully illuminated. The turgid sound mix was also a problem, turning John Paul’s bass into a cluttered rumble and making guitarist Josh Steely essentially incomprehensible whenever he’d use his microphone.

Drummer Joey Barnes became the instrumental focus by default, pounding out a dull, lumbering thud. He also wore a gas mask for no apparent reason during “You Don’t Belong’’ and flipped and tossed his drumsticks so many times during “Life After You’’ that it was no surprise when he lost one during the last chorus.

Daughtry-the-man seemed to acknowledge the sound problems by his constant removal and reinsertion of his ear monitor. Mostly, he sang over the moody, submetallic churn as though the performance was also his ab workout for the day.

Much of the material varied only to the degree that it was split between heavy shriekers and quasi-sensitive power ballads, though the ringing guitar and rolling drums made “Feels Like Tonight’’ just about the only song with any real excitement. It was the one standout amidst the generally undistinguishable others, just like Daughtry itself.

Former Evanescence keyboardist David Hodges opened with his own set of grindingly melodic songs that recalled a heavier version of the Fray.