Sporting a four-month baby bump, Lisa Moore led the Blood and Glass Quartet through a genre-hopping set after the group opened with some mysterious atmospherics, continuing to trace a through-line between dusky ballads, breezier electro-pop and vocoder whiskey shanties.
Focused and economical, the action only halted once, when husband Morgan Moore solicited a baby's first crowd cheer from the audience ("apparently at four months the baby starts spurting ears and for some weird and miraculous reason can start actually listening and hearing"), and after they obliged, it was time for the band's smouldering take on Leonard Cohen's "Take This Waltz."
It all culminated with the shadowy pop stomp of set-closer "Hop the Fence," and as that entry extended, Patrick Watson's backing band joined the group on stage to help them bring the entry some big band swagger.
Focused and economical, the action only halted once, when husband Morgan Moore solicited a baby's first crowd cheer from the audience ("apparently at four months the baby starts spurting ears and for some weird and miraculous reason can start actually listening and hearing"), and after they obliged, it was time for the band's smouldering take on Leonard Cohen's "Take This Waltz."
It all culminated with the shadowy pop stomp of set-closer "Hop the Fence," and as that entry extended, Patrick Watson's backing band joined the group on stage to help them bring the entry some big band swagger.
