Mates of State

Jan. 25, Bottom of the Hill

Dangling from the ceiling in the sold-out Bottom of the Hill, a television treated the preconcert crowd to one of those ridiculously long late-night infomercials, with clip after clip of movie musicals. Gene Kelly and Judy Garland belted their way through "Summer Stock" as Kori and Jason Hammel heaved their equipment on the stage. Though Mates of State make music that even Fred and Ginger wouldn't have been able to dance to, the local duo's appeal isn't all that different from that of the passion-filled plots of postwar cinema. Sure, Mates of State make music. But there's also a romance, and in their lyrics – and their looks – we can follow the story.

The two halves of Mates of State are married, a fact that dominates any conversation about the band. That they sing about their own relationship only makes them more enticing. But at Friday's show, a hometown gig before they embark on another long tour, the band's fabled chemistry hung weakly in the wings. Though the audience exuded an energy level suited to arena rock, the pair that the Web site Pitchfork Media recently called "America's cutest indie-pop couple" hardly glanced at each another and made very little attempt at across-the-room rapport, though Jason did manage to mutter rather flatly, "We love being here. Really."

After pink-clad Kori ceremoniously pulled her hair into a ponytail, they launched into a smoothly executed set. Their signature sound combines the electronic lilting of a Nintendo soundtrack and the blistering harmonies of Rainer Maria. Surprisingly, they sounded even fuller and tighter onstage than on their new album, Our Constant Concern. From the upbeat entrance of the organ on their first number, "As Night As Now," it was apparent the duo could fill the room. And despite the absence of a bass player, captivating preprogrammed bass lines drove the nearly nonstop 45-minute set.

Mates of State's songs veer sharply away from traditional pop-song structure, which can make the band difficult to digest live. But while musical phrases soared in every direction, the emotions stayed strong even as they swirled through the chaos. One audience member clutched her chest dramatically and sang along; another exasperatedly mumbled to a friend halfway through the set that he was leaving. The band were strongest when they traded in the shrill for the sensitive. On "A Duel Will Settle This," from the new album, a chimey, trembling organ led into the Jason's imposing drums, and he occasionally paused just long enough for Kori's sweet vocals to stand alone.

Similarly, the tumultuous yet touching "Halves and Have-nots" showcased Kori's singsong shouts as the song undulated between frenetic and dramatically slow. On "Everyone Needs an Editor," from My Solo Project, a '60s-style organ tore through the strikingly poetic lyrics ("I color the sky with you / I let you choose the blue"). As the energy built toward the end of the set, they launched into perhaps the strongest track on Our Constant Concern, the triumphant and achingly rhapsodic "Über Legitimate." Instead of alternating lines as they often do, Kori and Jason belted out this expertly arranged selection in unison, layering the vocals atop a gently melodic keyboard and proving how powerful a couple can be. (Nancy Einhart)