Tonight it seemed as though the heady days of Summer were finally upon us. The warmth and positive vibe had overflowed into Max Watts, priming punters, awaiting the sonic onslaught of Brooklyn proponents of synth pop, Chairlift.
Lead vocalist Carolyn Polachek cuts an imposing, yet ethereal figure, swathed in floaty fuchsia coloured silk, dancing and singing her heart out as she commands the stage like a Greek Goddess. “Look Up” kicks off a frenetic paced set, drawing heavily from latest album Moth. The fans recite every word, and a few young blokes near the stage have their eyes fixed firmly on Polachek, singing to her as if she were the only person in the room.
Multi- Instrumentalist Patrick Wimberly on drums, backing vocals and bass provides the perfect laid back foil to Polachek’s frenetic pace. “Romeo” incites another mass sing along, whilst Polachek wows us with her impressive vocal range and vocal gymnastics, whilst showcasing her dance moves and flicking her braided pony tail. Standout bold, and bass laden”Amanaemonesia” from “two records ago” resonates with with the throng, and could be mistaken for magic as the lyrics suggest. Quirky and stripped back “Bruises” is yet another crowd favourite.
“The US is a scary place to be right now,” exclaims Polachek. “We should extend our tickets right?” to which the audience screams their agreement. With only seven hours before they fly back to the US, during “Moth to the Flame” Chairlift are joined by members of support bands Harpoon and Confidence Man for a spot of dancing.
It’s not long before the band is beckoned back for the encore, with their most recent song “Get Real” before Danny Meyer’s Saxophone reverb in “Ch-Ching” signals the start of perhaps the most fitting finale to an uplifting, dance worthy set.