大象传媒

It's the morning after for both Grizzly Bear and weary, post Halloween punters. Many of us are feeling a little fragile - facing reality after a night of altered personas. And for Grizzly Bear, they're re-adjusting to a four piece after sharing the stage with the London Symphony Orchestra the night before.

Walking into the venue, the scene is already staged. Bulbs hang in glass jars in different lengths, creating a scene not unlike an innocent part of a Tim Burton film. And with tickets sold out long ago, the crowd doesn't hesitate to be down in time for St. Vincent's support slot.

Annie Clark, aka St. Vincent, instantly has the crowd in her hands. Armed with a guitar, some pre-programmed drums, loops and an incredible voice - Annie creates a magnificent racket for one person - it's impressive.

However, having seen her twice before, there's no comparison between what she does solo and when she has her band. Alone, she's musically impressive and chin strokingly perfect. With a band, she's let loose to worry less about hitting buttons in that second gap, and more about having an absolute ball on stage - ripping the guitar apart with twisted riffs. It's all a little bit more reserved tonight. Still, perhaps it's more fitting for tonight's show - as we're about to witness one of the most soothing and hypnotic sets this year.

Grizzly Bear enter in front of a crowd heavy with anticipation. They open with 'Southern Point' which crescendos with the floating glass jars exploding into light. It's quite magical really - and so is the next hour and more.

Although always obvious on record, the fact that a major chunk of Grizzly Bears music is built upon vocal harmonies becomes even more apparent live. Drenched in reverb, the three (sometimes four) vocals twist together in an aural blanket that floats from the stage. Add to the mix guitars, auto-harps, flutes and beautifully played drums and it's amazing how they really recreate live what I'd always thought to be a very heavily produced, studio band sound.

Once the opening piano line of 'Two Weeks' began, there were teethy grins speeding like wild fire around the audience. However, if I was to criticise anything, it's what happened (or didn't happen) during this track. It was about half way in before it started to register that there's something missing. I never did get my finger on it, but 'Two Weeks' didn't quite reach the mark.

But for the majority of the set, it was all there. The swirling sounds that washed around Vicar Street had me swaying, eyes closed, like I was an extra in a psychedelic film. And it didn't need to be anything else. A set of new and old pleased about every fan - with one of my personal highlights being 'On a Neck, On A Spit'.

It wasn't perfect, but Grizzly Bear have proved that you don't need to be all guns blazing to be great live - but have shown that they have the musicianship to create textures that invent a whole other world.

Amy McGarrigle