“We’re in Fishtown, right?” Daryl Hall said to a sold out crowd of fans and concertgoers. “I used to be scared to come up here.”

On the evening of October 1st — the night that 80s pop-soul sensations Hall & Oates christened the stage of The Fillmore — the only thing remotely frightening about the neighborhood was pouring rain, flood alerts, construction detours and parking. Still, 2500 fans poured into the newest venue to hit the Riverwards from the aptly named Canal Street entrance and out of the rain. Inside they were greeted by the warming red glow of a large “LIVE” sign, a tribute to the Love Park’s namesake. A playlist of 80s pop-rock was piping in from speakers, Peter Gabriel’s “Solsbury Hill” was playing.

“My heart going boom, boom, boom / Son, he said, grab your things I’ve come to take you home”

The lyrics couldn’t have been a more fitting soundtrack to describe the excitement from the headlining band’s hometown fan base. Two of those fans were Justine Winkler and Anne Morelli, a daughter and mother duo.

“The last time I saw Hall and Oates was 1982,” Winkler said, “It was at the Mann Center with my dad. I was in the front row, it was my first concert and it was amazing.”

“I’m excited. What’s not to like about Hall and Oates?” Morelli said. “Dancing, Philly, the new venue, it’s all so exciting.”

Daryl Hall and John Oates first met each other at Philadelphia’s Adelphi Ballroom in 1967 after gunfire rang out during a band competition that both young musicians were attending. The two former Temple University students eventually formed Hall & Oates and, in 1972, signed with Atlantic Records. In total, the group has had 34 chart hits on the US Billboard Hot 100, seven RIAA platinum albums and six RIAA gold albums. In 2003, Hall and Oates were inducted into the Songwriters Hall of Fame and then the Rock and Roll Hall of Fame in April 2014. With a résumé like this, it was no wonder that Live Nation booked this band to open The Fillmore’s doors.

When entering the general admission area, fans walked into a dimly-lit but very spacious main floor. The Fillmore’s 48-foot stage was set with a red curtain backdrop, psychedelic F’s projected onto them. It was easy to get a good view of the stage from anywhere on the floor. Cool blue chandeliers hung from the ceiling and led your eye to another level of seating in the venue’s upper deck, which is only open to certain VIP ticket-holders. To me, the venue was a cross between The Union Transfer and the World Cafe Live’s main stage. Winkler, an avid concert goer, said her first impressions were all positive.

“The Troc is beat, I wouldn’t go there for a concert. I’ve seen a lot of cool shows at the Electric Factory but I’d rather come here,” Winkler said. “It’s the new hot place.”

The lights dimmed as the sold-out crowd made its way into the stage area. After a brief appearance and introduction by Mayor Michael Nutter, Hall, Oates and the six other musicians who make up the band made their way into the spotlight. Hall appeared in a black leather jacket and dark sunglasses. Oates, who has ditched his awesome 70s ‘stache, was wearing a shiny blue shirt. Both looked to the crowd, smiles stretched across their faces, and began to play, opening with “Maneater”: a crowd pleasing hit.

Sonically, The Fillmore was a dream. The venue’s state-of-the-art sound system is made by Clair Bros. of Lititz, Pa. Thankfully, unlike it’s antiquated cousin the Electric Factory, the new venue doesn’t sound like a reverb-heavy rock show inside of a tin can. Instead, sound bounces off the walls and resonates in a way that doesn’t make the music harsh or loud.

Hall & Oates played a 95-minute-long set, which included two hit-filled encores. The first featured “Rich Girl” and “You Make My Dreams” while the second featured “Kiss On My List” and “Private Eyes.”

Before playing the second and final encore, Hall once again addressed the audience.

“This is a great place,” the Hall of Famer said. “I’m glad this place exists.”