High Places, Shea Stadium, NY

On record, High Places vocalist Mary Pearson often comes off as coquettish, her vocals swathed in reverb and mixed down into the group’s instruments instead of high above them. On record, it’s easy to assume that Robert Barber is the craftsman behind the band’s loping topicalia. Yet, once on stage it becomes readily apparent that the members of High Places both work equally to craft the hazy, programmed pop for which they’re known.

Stepping on stage, both musicians handle sound check responsibilities, shouldering guitars, tinkering with samplers and drum machines. From the moment they begin to play, any audience member can tell that High Places have evolved since the release of their debut EP. If the duel guitars are not clue enough, their first song is both darker and headier than anything that graced their previous album. It is hard not to imagine that the tropical caterpillar of their first album has finally drawn itself up into a cocoon, and instead of emerging all bright and weightless has decided to stay put and make music in the dark and the damp.

For the first two songs, both off their new album ‘High Places vs. Mankind’, Ms. Pearson’s acquired a new dynamism, but as the band move further into their catalogue it becomes unfortunately subsumed by the new addition of guitars. By their third song one can hear an unexpected strain of Joy Division creeping through their drum loops and equatorial sound. Weirdly, it works, and causes unexpected musings about what that band would have sounded like if Ian Curtis and the rest had grown up in Brazil circa 1969.

When Mr. Barber starts the samples that begin ‘Golden’ it is hard not to lament the loss of the bands more good-times vibe, but as the show continues it is harder not to get on board. Both performers seem comfortable in their roles as musicians, programmers, and vocalists. The guitars are best as accents, and diving forces behinds songs, but the reoccurring ‘80s style drum clash that would be at home on any early New Order album is an interesting addition to the band’s repertoire.

Live, both Pearson and Barber are engaged performers, both with their audience and their sound. At times they seem wrapped in their own beats and bleats, but each time they seem ready to forget the room, they turn to the audience as though inviting the onlookers into their own private chrysalis.