Live Review: Bon Iver

There are loads of hipster types with Doc Martens and big lumberjack-esque coats, but a fair amount of arty, older people with glasses of red, too. The Concert Hall has been doused in purple and teal, the curtain behind the stage revealed for those watching Bon Iver's Cercle from all angles. 

Clad in a red hunting jacket and trucker hat, Justin Vernon comes out shrouded in shadows for a haunting solo intro to Woods. Multiple layers build around his vocoded voice, building up to a crescendo as he sings the echoey opening lines, lit with just a spotlight. All instruments are facing the centre tonight with Vernon in the middle, ground zero. Three heavenly backing singers - UK's The Staves - lead us into the lush sounds of Lump Sum, the song brought to life with stronger drum and piano lines than on record. The whole setup is reminiscent of a studio session - Vernon has studio headphones on, dressed for comfort, and the myriad instruments surround him and his commanding presence. Towers invites the double bass and (one of two) grand pianos out, as technicolor lights cascade down above them from the halo of yarn. Vernon displays an odd sense of humour and comes off as a huge dork, putting on silly little voices while saying hello, yelling out incoherent "yeah!"s and complimenting our Sav Blanc. 

Calgary is a chance for Vernon to plump the depths of his register, along with his skills on the harmonica. The floor lights on the stage and the spotlight directly above are all pointed at him, like he's the centre of a little supernova. He gets off his swivel chair for the first time in Hinnom, TX for a synth pop, upbeat change; the stage now looks like a red and orange sunrise. Everyone else leaves for a double piano rendition of I Can't Make You Love Me - as the opening notes ring out, sighs of recognition slip out and we shiver with anticipation. Both Vernon and pianist/keyboardist Sean Carey share vocals on the song, Vernon's cracking with emotion as he croons, "I can't make your heart feel something it won't." 

Michicant and Creature Fear both begin mellow but spin out into a raucous, experimental mania, the latter the first time Vernon steps on his distortion pedal and stands up to shred on a Les Paul. 

Saving the best for last (though that's hard to say when one has such a rich back catalogue), the band finish with a gorgeous Holocene and an intimate, passionate Skinny Love. After a standing ovation, much stamping and two extra musicians on stage, Bon Iver play an encore of Flume, Heavenly Father and, all gathered conspiratorially around one microphone, For Emma. As their naturally amplified voices echo around the room, we know we're witnessing something special.