Yeasayer. Oh Yeasayer. They hit it big this year, huh? Their sophomore record 'Odd Blood' had a split myriad of music journos and bloggers alike either wetting their pants with glee or arching a brow in attempt to figure out what went wrong. (NME welcomed it with a solid 8/10, while Pitchfork settled for a humble 6.1, for example.) Odd Blood's eccentric and adventurous stew of 80s inspired synth-pop arrangements wasn't merely a progression for the Brooklyn band, but a complete distortion from the cacophony of bongos, sitars and jangly guitars, harmonic vocals and general psychedelic smooth-grooves of All Hour Cymbals in 2007. With this in mind, I was curious as to how all of this would go down live. Undoubtedly Odd Blood had pulled in much larger audiences than anticipated for the band - tonight's show had originally been scheduled for Audio, and sold out with such haste that a drastic upgrade to Digital was required. And just as well, because the Digital's infamous sound system would clearly do Yeasayer a huge justice in comparison to the sweaty, muffled, tin drum quality that Audio's system could ever muster. The stage has been adorned with large glowing screens which flitter between hues as Yeasayer take the stage (arriving late, tut). Kicking off with album-opener 'The Children', resonating Fever Ray's heavily treated vocals (albeit in an amateur fashion), the crowd at first seem a tad dubious. This soon picks up though, thanks to the additions of Jason Trammell on drums and Ahmed Gallab on keyboards and percussion, who both add greatly to the texture of tracks like 'Madder Red', and particularly 'ONE' which is delivered with such a bounce that it gets a large portion of the crowd hand-clapping and grooving in the little standing space that they have. The banter between band and audience was humbling, also. With front man Chris Keating and bassist Ira Wolf providing some pretty amusing patter regarding the photographers down front, and the more-ishness of the food in 'Bill's' restaurant (and a spectacular restaurant it is too). For those who have been to Digital you'll know what I mean when I say: bass. The bass that rumbles through your body like an earthquake and scrambles your dinner. This served Yeasayer's new material so appropriately that whatever doubts I had about Odd Blood I almost temporarily forgot, amongst the immensity of pulsating beats that permeated the air around me. There were moments, however, that seemed to drag on. 'Love Me Girl' still sounded like a Frankenstein-esque medley between Jimmy Urine of MSI and Chromeo, but this was repaired by an epic and warmly welcomed rendition of 'Wait For The Summer', and of course the big hit 'Ambling Alp', which was saved til the end along with 'Sunrise'. Ever since the 405 debate on the questionable necessity of encores, I'd started to lose some enthusiasm after this stage, but was hoping that '2080' would eventually be ripped out and reconcile that feeling (damn you, 405 debate!). That desire, however, was unfortunately left unfulfilled. Due to the strong divide in opinions on Odd Blood, it is fair to say the response to tonight's show will be just as eclectic. As far as performances go, I cannot fault Yeasayer. They were visually and aurally on top form and as aforementioned the brilliant sound system of Digital further ensured the intensity of their delivery.