Live Review: Xiu Xiu, Rites Wild

Rites Wild begins with spacey arpeggios acting as a foundation beneath synth stabs and vocals buried in effects. It's interesting, but as the track continues there's no real progression, and the tone is too blunt, too retro, to allow for subtlety. When the arpeggios drop, replaced by a rolling bass, things improve, but there's not enough substance to justify its 15-minute length. The remainder of the set is better, brevity making for a stronger impression. The final track starts off sounding like HTRK, but it becomes trapped between two ideas; noisy flourishes take the place of minimalism, sitting uncomfortably. It's still enjoyable to listen to, but when the retro synths return and dominate, the track loses its icy chill and recalls nothing so much as a '60s BBC sci-fi theme.

On this tour Xiu Xiu are a two-piece, Jamie Stewart joined by percussionist Shayna Dunkelman, who stays mostly hidden behind an impressive array of instruments, while Stewart is front and off-centre, seated with a synth on his lap. The very downbeat Dangerous You Shouldn't Be Here begins the show and lays the tone for the evening, the setlist heavy with the band's quietest, most restrained moments like Rose Of Sharon and Black Keyboard. Even the few poppier moments are slowed or stripped-back, hooks subsumed under Stewart's passionate voice, which is outstanding tonight – better than the albums – as it hovers in a delicate whisper or bursts forth, words seemingly torn from inside and offered to the audience. Xiu Xiu couch many of their songs in atonal noises or savage pop trappings that serve to keep the listener at arm's length. With those largely set aside, it leaves a threat and intensity so direct it sears and the bursts of volume when they do occur – a shock of noise from the theremin, a screamed line or a cymbal rung from a slingshot and shattering ball – are truly disconcerting.

Dunkelman is understated, even when busy, but in the quieter moments it becomes obvious how much she's adding to proceedings. A rhythmic underpinning that grounds the music; carefully placed hats and bells creating a counterpoint to the slightly disconcerting melodies. When it reverses and her hands blur above the glockenspiel, creating a haunting tune that floats under distorted guitar, the quality of her performance shines.

There's something slightly voyeuristic about watching Jamie Stewart perform in these arthouse surrounds. The mix is wonderful, the performance exceptional, but it feels like more is called for from the audience; a response as visceral as the performance itself. Any anger or angst felt here is only in abstract. Instead we peer, curious at the glass, and offer applause as Stewart serves himself up for our entertainment.