Simon Bookish

In recent years, the island of Brooklyn, New York has grown to become the home of a plethora of psychedelia-influenced acts; Animal Collective, Oneida & Psychic Ills among them. Grizzly Bear also form part of this pantheon and their folky shoe-gazing is distinct enough to enable them stand out in a crowded marketplace.

I'm unfamiliar with their 2004 album Horn of Plenty, but as new signings to Warp Records, the band will be introduced to far more listeners than the core that recognise their debut this year; although few of their songs worm their way into my brain from their set tonight, the overall sound of the quartet is memorable: a sense of familiarity with the band's music isn't out of reach.

Grizzly Bear show more promise than anything else tonight, but this being their first performance on these shores, in the supporting role to an altogether better-known musician; as an introduction to the band this ticks all the right boxes. In essence it's the perfect support slot, leaving me and seemingly most of the crowd entertained and suitably intrigued without being overwhelmed.

Headlining ahead of the release of his second album He Poos Clouds, Final Fantasy - Toronto's Owen Pallett - arrives on stage alone, brimming with a confidence that overrides his inherent geekiness. He has much to be confident about; He Poos Clouds promises to feature prominently in many a critic's 'Best Of' lists come December. Following a brief introduction, Pallett is joined on stage by a projectionist; the visuals have little impact on his stage presence as Pallett's violin playing remains fascinating and the wall of six footers standing in front of me does much to frustrate as I'm forced to push forward for a better look.

Initially mistaking his prowess with a loop pedal for a backing track, Pallett does a sterling job of recreating the layered complexities of his recorded output in a live setting. The songs aren't diminished at by the changes required to make them possible to play.

The bulk of the crowd is unfamiliar with the new LP and cheers are reserved for the favourites from last year's Final Fantasy Has A Good Home, but his new songs are stronger and Pallett is unrestrained in enjoying himself with his set made all the better for it. His mid-set banter is even laced with light-hearted self-aggrandisement. Joined by his drummer for the latter stages, the show is paced superbly and it's easy to forgive the rare errors or bum notes. The gradually more enthusiastic audience is treated with not one but two encores - count 'em - and they say much about the man and his music: having spent much of the set raving about Orchestral Manoeuvres in the Dark's 1983 opus Dazzle Ships, Pallett covers the first four songs in their entirety, unaided. It leaves nearly everyone present baffled, but to those familiar with the record, Pallett's cover versions show a remarkable understanding of what makes it great, the technical achievement of pulling it off aside.

Leaving the stage, it seems Pallett will end on this slightly self-indulgent note but he returns to send us off into the night with a quick cover of Mariah Carey's megahit 'Fantasy' balancing the oddities of his performance with a sense of humour and no small amount of charm, it sums up a lot of Final Fantasy's appeal and any shortcomings are quickly forgotten.