Chambers opened the night at Cafe du Nord this past Sunday, launching the crowd into deep space with synthesizer and guitar layers that encompassed reverberated, cavernous vocals. Appropriately, singer Gareth Lloyd moonwalked his way through parts of the show. His vocals careened over the shifting rhythms of drumming played by three members of the band throughout the set, adding a great spacious feeling to their sound.

It was refreshing to see the confidence of Chambers’ female guitarists and bass player as they deftly worked through the rapid transitions of the songs. Sarah Melfy’s performance on guitar, drums and keyboard was particularly bright in its timely melodies and counter rhythms. The band executed the complicated and quick transitions of their songs efficiently, but it came at the cost of a more dynamic stage presence — with the exception of Lloyd, the band was economic in their physical movements.

The set had a funny moment when Lloyd tried to tell the audience about their album available for free while his voice modifier was still on; it sounded like a psa on a spelunking mission. Switching it off then on again, he teasingly garbled at the crowd for a moment, garnering some laughter before the next song.

Listening feels like: Major Tom took you out on a date to the arcade and you finally beat him at Star Ship (in a dim arcade room, minimalist electronics, sharing beers and the ebullience of winning).

Tiny Television maintained the high energy Chambers generated, but with a foot-stomping beat. Complete with mic lights and a smoke machine, their stage presence had the good-time feel of a house party; in the middle of the last song singer Jeremy D’Antonio let the smoke machine rip, exclaiming, “I almost forgot to use it!”

While the band’s enjoyment was evident, the highlight was drummer Dan Luehring’s catching enthusiasm, and more particularly his facial expressions. No one was having a better time than him, which was awesome to watch. D’Antonio and bassist Brian Gregory’s harmonies had the warmth and electricity of two well-match voices. In addition to Gregory’s excellent sense of timing on the harmonies, he played a nice harmonica. The fiddle, which was too quiet, balanced classical hues with scratchy textures that worked well with the drums; hopefully in the future it will be more present.

Listening feels like: playing duets with your brother on a retired piano nested in the back of an old barn – it’s familiar, you can see the blue sky through the cracks in the ceiling and hear the country outside.

Rykarda Parasol finished out the evening with her sultry country noir.