Before I start this review, I have to do a little bit of scolding. In one sentence, this was the best bill of music I've seen all year and I am still gushing about it two days later. Why then, was the venue so criminally underattended? It might be understandable, considering it was Yeasayer's first time in Buffalo, evidenced from singer Chris Keating's awkward Buffalo 66 shoutout. Opener Daedelus, however, is no stranger to Buffalo's music scene, having played to packed houses at Soundlab on several occasions. I entered during his set about 10 minutes in or so and was shocked at how empty the room was. I won't dwell on it for long because I have nothing but nice things to say about the show, but if Buffalo doesn't turn up to see acts of this caliber, we'll cease to seem attractive as a music market, and that's not something we want. (is it?)

As for Deadelus, I couldn't have imagined a better opener for a band as eclectic as Yeasayer. Dressed to the nine's in an all black shirt, tie, vest and napoleanic sideburns, Deadelus is a rare DJ who's fun to watch perform. Instead of a mousehead mask, insane lighting rig, or bizarre pointless miming, you just saw a guy performing on his monome. That's all he needed, as the small crowd was still an enthusiastic one, giving a loud applause as he exited the stage. As always, the set was different than the last one of his that I saw (April 6, 2011 at Soundlab), but I enjoyed seeing him embrace some more downtempo sounds. Deadelus always manages to give his sets the feel of pop music without sounding pandering or pretentious, this is mostly due to the great vocal sampling he does. Vocal heavy sets can often be tiresome and cheesy but Deadelus mixes his vocals with staggering tastefulness, never distracting from the other elements but still existing on their own.

After a lengthy breakdown, Yeasayer took the stage and opened with new single "Henrietta".  The crowd had filled out a little better by this point, and most of them seemed to be familiar with the song. The production heavy studio track was served nicely by the more live feel, giving prominence to the great three part harmonies that ride out the song. The band was flanked on all sides of the stage what appeared to be circular glass mirrors. Colored lights lit them up, giving the background lighting a unique and steady movement. I enjoy unique light shows, so this was a treat. It wasn't until the band broke into Odd Blood favorite "One", that the light show took a step up.  White beams filled the room from the floor of the stage, giving the appearance that the entire stage was a giant disco ball. This was somewhat nostalgic as I remember the days when Town Ballroom would unleash it's own giant disco ball from the ceiling, which was always a show highlight, but more on that later.