Some musical duos seem bound to happen. As core figures in ethereal ambient folk music, Julianna Barwick and Mary Lattimore make deeply compelling music that is transformative and like portals to other realms. On their own, they capture the brilliance of their respected instruments, synthesizer and harp, respectively, and together they meld their sounds into something cosmic, grand, and totally natural. Their complimentary styles fuse together seamlessly for something evocative, celestial, and utterly divine. If you were to think that on record they sound inspired, well together on stage they deliver with a quiet confidence. "We're two best friends and we made a record together" Barwick giddily announced when they took the stage, their witty charm a pivot from their most mystical music, and the two appeared absolutely thrilled to be sharing the stage together. Visiting the galaxy these two have crafted brings you along some familiar paths: the rich minimalism of Liz Harris' work as Grouper, the mythical wonder of Joanna Newsom, the vocal acrobatics and inflections of Cocteau Twins, and the lush tapestries of early Beach House. These are familiar haunts, but Bariwck and Lattimore do more than just reshape their old favorites, they introduce their own cosmic spark to make something of their own. "Oh, Memory," a track from Barwick's solo record Healing is a Miracle felt the rhythms push forward with an ever so slight march and let Julianna's voice beam down with sustained, glowing power. Using her vocals like an additional instrument rather than a vehicle to convey lyrics, her elegant hoos and hahs prove it's a true artform many may try to replicate, but few can conquer quite like her. Hitting us with a cover of "Rachel's Song" from the Blade Runner soundtrack helped add on to the intergalactic vibes on hand throughout the night, the eerie and haunting melodies of desolation and despair filling the room, the ghostly echos swirling about with chilling force. The only other tune from the evening not written by either person on stage was "Temple of the Winds," a track written by Roger Eno during a show in Melbourne they happened to be playing together. "This is only the second time we've played it live," Barwick told the audience after a brief backstory on the recording process which took place in Paris when Lattimore played a harp from 1740 for the particular song. The ornate and distinguished nature of the track resonated throughout the room as everyone gave way to the awe-inspiring command the two held over the crowd. The last song of the night was the album's closer, "Melted Moon," and Barwick admitted that this was indeed a challenging track because it forced her to also write lyrics, a task she avoids in her own music which results in the vocal gymnastics that turn her voice into another instrument for the track. In its full, magnetic power, the song looped into total bliss and set forth to total cosmic oblivion. Together on stage, the pair present as a true partnership and songwriting duo, the songs don't see-saw between each artist, but rather they delicately balance together, sculpting the songs into moments of total euphoria. To watch them recreate these special songs with such intricacy is as rewarding as it is rejuvenating, a night that felt nourishing for the soul.
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