Behind a backdrop of last years' follow up eponymous LP, Warpaint finally took to London's Hammersmith Apollo to fulfil the long awaited, postponed dates of last November. Despite the delay and somewhat sporadic offerings of new material, there appears, nonetheless, to have been a sustained anticipation in light of Warpaint's ability to provide a celestial soundscape built up of the four-piece's sprawling instrumental interplay.

Fellow Californians The Garden, comprised of the statuesque Shears twins, revel in their own rebellious brand of garage punk. Upon hearing their sparse sound of relentless drums and staggering bass guitar it's hard to envisage that the duo would be able to deliver to fill the sizeable Apollo. However, provided is an electric display. Intermittent verbal expulsions are nestled between the act's hasty, fleeting purges, most of which is set to a minimal electronic backtrack. Perhaps almost juxtaposed with their sound, the twins' onstage choreography appears to be fluid and meticulously planned, from Fletcher Shears leaping across his drum kit to the fumbling call and response routine throughout Cloak.

Other than point of origin, Wyatt Shears appears to share in common with fellow bassist Jenny Lee Lindberg, an awkward yet trademark gait. Alongside her rhythmic shuffling, the stage is occupied by Stella Mozgawa's pounding and undulations of heavily hypnotic guitar that marks the ascent into Warpaint. The duel vocals of Theresa Wayman and Emily Kokal are a signpost of the group's somnambulic sound. Engulfing stage smoke mirrors soaring swathes of chorus and reverb addled guitar. There is an unintentional sultriness that undersets the bands nocturnal pop.

As 'Composure' moves smoothly into 'Love Is To Die', Wayman enchants the audience by nimbly pacing centre stage and descending into the crowd, however, upon return she manages to lose her composure by stumbling face down towards the stage floor at the same moment Kokal faces technical difficulties with what appears to be a broken pedal. Wayman regains herself and jests "I thought I was cool there for a sec!". She's not wrong, the four-piece manage to possess a beguiling nature; a product of a naturally frivolous onstage chemistry and their swaying ethereal output.

As 'Biggy' brings the set to a close, the expected encore involves a swift reshuffle regarding the onstage set up. Warpaint float onto the stage and arrange themselves into their assigned positions. Mogwaza sets aside the sticks for guitar duties as Kokal and Lindberg sit kneeling beside her taking part in syncopated shoulder shuffling. 'Son' is performed for supposedly the first time live, leading into new track 'I'll Start Believing'. This ultimately serves as testament that though Warpaint are able to lean on the sturdy strength of their prior releases, the Californian quartet are far from lacking in material to offer.