Live Review: Tully On Tully, Goldsmith, Mansion Alaska

Local five-piece Mansion Alaska open the evening at the Grace Darling with their laidback, dreamy indie rock. Their technical competence and smooth synchronicity far outweighs the relatively small audience size. The band's sparkling and resonant guitar melodies fill the intimate space with long instrumental sections and a dense sound while lead vocalist Dom Willmott astounds with his incredible vocal range, which is reminiscent of Thom York. This young band's melodic, new-age psych rock truly captivates and they seem destined for success. 

Next to play are Goldsmith, a group that evoke goldenness in both name and nature. Donnie Goldsmith, vocalist and keyboard player, has a unique look with his tight golden curls and yellow knitted jumper. Performing in front of a shimmering golden curtain with large disco-ball overhead, the scene could not be more appropriately set. They open with Henry VIII, a shiny pop tune that showcases Goldsmith's high, crisp vocals that blend seamlessly into the songs that follow. The songs are all quite similar with their shimmering, warm funk beats and dreamy verses leading into long spouts of fairy-like instrumentation. Though the set as a whole seems a little repetitive, it could potentially lend itself to a groovy dance environment. 

Goldsmith offer an interesting mix of genres: elements of '70s disco and dark '80s synth-pop. Goldsmith's rich instrumentation is really brought to life in a live setting. Not only is the bass volume turned up and leading the fellow band members, but Goldsmith's unique, energetic stage presence really shines. He switches comfortably between eccentric boogying and manning the keyboard, fully invested in the performance as well as his own close relationship with the music. He's an unconventional leading man but completely captivating, as is the band as a whole in their mastery and assuredness.

Headliners Tully On Tully perform their immaculately tight indie pop to end the night. Natalie Foster's vocals are breathtaking from the opener; effortlessly clear and powerful, but also bewitching and warm. Meanwhile Frank Lee's drum rolls evoke an epic marching feel, which enriches the band's clean sound. This is especially noticeable in their song Naked. All over, this is a band with an ethereal quality; Foster's lyrics evoke notions of a cinematic tragedy, especially when she dramatically smashes a tambourine against her arm. Tully On Tully are both delicate and powerful, demonstrating flawless mastery of their instruments and vocals. A great performance.