Born Gold (Gobble Gobble) and Braids were Purity Ring’s supporting acts of the night. All Canadian acts, Braids was particularly memorable live. Originally from Calgary, this art rock group has made the inevitable move to Montreal, but Braids is not your average indie electronic duo. They shook things up with a guy-girl-guy triple threat combo. Coming off their third release, Flourish // Perish, Braids favoured prolonged jams, and some were hit or miss live. Their physical presence on-stage was staying to their appointed spots until the end but the ethereal, extended cuts were powerful and moving.

In contrast, Purity Ring knew how to make a strong statement that enhanced the live element to their music. With custom-built crystal sceptres that controlled lighting and sound, Roddick was in the middle, crafting simple but mesmerizing moments that hooked eyeballs towards him. As he hit the lanterns to make them pop, synchronized to the beats, James used the stage to make for great Instagram photos for fans. James was channeling a wood nymph from the 60s with tangled hair on purpose, and a pale high-waist ensemble. Lit-up against waterfall sheets of lights from purple to pink and white, Purity Ring smartly tapped into growing expectations for live shows to create a special experience that easily lends itself to documentation as well. The visuals fit in with the whimsical but bold music. From hits like “Fineshrine” to newer songs like “Stranger Than Earth,” Purity Ring was a balancing act between James’ ghostly voice and Roddick’s gutsy instrumentals.

Whether or not Purity Ring avoided the sophomore slump in their recent offering, Another Eternity, what they’ve learned from touring festivals and collaborating with hip-hop artists shines through. A confident performance with a theatrical and imaginative set-up, Purity Ring is enchanting live.

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It speaks to the strength of the all-Canadian lineup that a good half of the capacity crowd was there before sundown. Openers Born Gold—perhaps not coincidentally, the band which used to count James and Roddick as members before they formed Purity Ring—was a largely unknown quantity. Tracks available online have a strong synth bent punctuated by a hint of 8-bit lo-fidelity, and might have been performed by a guy and his laptop. Live the band’s sound is more muscular, making the most of two percussionists and lead singer/guitarist/founder Cecil Frena’s energy. The set was danceable and fun, inspiring lots of talk and curiosity from an appreciative crowd.

Second on the bill was Braids, riding the buzz of their breakthrough single “Miniskirt.” The trio has more of a pop/rock sound than the rest of the bill, much of their music solidly mid tempo. Lead singer Raphaelle Standell-Preston established a lovely rapport with the crowd early in the set, relating anecdotes in a conversational tone that made the venue feel far more intimate than it was. This is among the most rare and unfakable of pop star gifts, a far cry from the “Hello, Cleveland!” clichéd fallback of many touring bands. Braids sounded tight as a drum.

Purity Ring are one of a handful of groups who craft a visual brand as potent as their sound. The lighting design—long dangling stands of oversized LED pearls, the glowing alien sphere from the Another Eternity album cover hanging at center, Corin Roddick beneath it surrounded by tall crystalline “drums”—all tells a story of futurism and elegance. And the clothes! Megan James reportedly designs and sews their stagewear, which if true makes it all the more remarkable. Roddick’s black and white outfit was one part BMX, one part B-boy, one part Space: 1999 yet looked casual and contemporary. James, her hair constantly aswirl from multiple fans, strode on stage in a white neoprene jumpsuit with oversized white mesh shoulders and sleeves, recalling a sleeker, slinkier version of Tina Turner’s Aunty Entity from Mad Max: Beyond Thunderdome. The cumulative effect of all this was striking, a perfect accompaniment to the band’s sometimes dubsteppy, gently glitchy electropop, separating them tonally from the current crop of darkwave electronica groups that sometimes feel as if they are all cut from the same cloth. There’s nothing dark or edgy about Purity Ring. They gleam.

The band alternated back and forth between their two albums, demonstrating how consistent their sound and songwriting really is. Roddick’s setup, a tabletop controller and electronic drum trigger pads built into light-up crystals which surround him‚ allows him more activity than you’d expect. His musicianship is very much a strong visual element. But the bulk of the weight of crowd expectation falls on the structured shoulder pads of lead singer James. Emoting yet cool and aware of the crowd, she covered every inch of the stage three times over, making sure the fans felt they each got a moment with her. Her voice sounded clear and strong yet delicate, bringing just the right vulnerability and humanity to the synthesized soundscapes of the music.

Roddick mingled with the crowd during the breaks between sets, happily chatting and posing for photos with fans. Purity Ring is getting to the point where that won’t be possible for much longer. With increased popularity comes forced isolation, and the Another Eternity tour might be the last one where such casual bonhomie is possible.

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Arriving to a patiently waiting audience who kept their composure throughout the set, BRAIDS wasted no time in launching right into their third album, Deep in the Iris. Front woman Raphaelle Standell-Preston exercised her vocals in a haunting, melancholic delivery that was impressive in both range and volume. Mixing staccato percussions with swift melodies, the group’s looping, synthetic beats were strong, though at times overpowering Standell-Preston’s gentle lyrics. Standing-out with hits that included “Taste” and “Miniskirt”, BRAIDS delivered an introspective show juxtaposed against the clamour of The Horseshoe’s front bar crowd.

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