Live Review: Of Monsters & Men, Gordi

While being escorted to our seats, we are welcomed by the deep voice of unearthed indie artist Gordi. A drum kit, acoustic guitar and synthesiser create an electro-acoustic depth to her carefully crafted lyrics. Gordi places her capo high on her fretboard to create delicate harmonics, strumming an inch away from her guitar's sound hole. Her voice is a wistful echo, floating atop layers of synth pad and sweeping filters.

Through a half hour intermission we wait patiently for the main act. As the room dims, two backlights illuminate the orchestra pit; the thick stage smoke glows like early morning mist. Silhouettes slink into position and Of Monsters & Men start to produce an eerie drone. Frontwoman Nanna Bryndis Hilmarsdottir wears a grungy dress with fringing hanging down to her calves, which flays against her body as she beats a giant floor drum leading the suspenseful crescendo of Thousand Eyes. Fellow vocalist Ragnar "Raggi" Porhallsson wears a less dramatic black ensemble topped off with a snapback. His mellow tones complement Hilmarsdottir's vocals, which blend to form remarkable harmonies during King & Lionheart and Mountain Sound. They each take turns in addressing the audience, although some words are hard to comprehend.

The original six-piece band are accompanied by additional touring members at the back of the stage and they chop and change between flugelhorn, trumpet, accordion, glockenspiel, trombone, backing vocals and percussion. On top of that, engineers run frantically across the stage to swap guitars between songs several times throughout. A layered kick drum and big floor tom form the perfect backbone to Of Monster & Men's folky rhythms, making every song the perfect clapping tune. A tough looking drummer takes up the role of clapping conductor, giving us cues as he stands on his stool to shimmy his fingers in the air.

Although we stand for most of the set, a few slower songs from Beneath The Skin give us an opportunity to rest our legs. In Organs, Hilmarsdottir strums on a mahogany Martin under a lilac spotlight as half of the ensemble rest. After finishing with Little Talks, the band line up across the front of the stage like the cast of a musical theatre production. Led by Porhallsson, they bow their heads several times to acknowledge our standing ovation.