It’s 9:45 on Friday night (Oct. 2) and the crowd at Music Hall of Williamsburg is getting antsy. The room, only half full 30 minutes prior, is now packed shoulder-to-shoulder with a slew of hipster Brooklynites standing in anticipation. The cold, rainy evening outside, though, does not stop the house from voicing drawn out hollers when Chaz Bundick of Toro y Moi enters the stage.
Clad in all-white, a plain t-shirt and corduroys, Bundick is endearing in his refreshingly simple aesthetic. In fact, he’s not even wearing shoes. Behind his signature clear glasses, he smiles and voices how excited he is to be in New York. A South Carolina native-turned-Los Angelino, Bundick fits right in amongst the crowd tonight.
Masked by a radical light show, Bundick and his three band mates are more experiential conductors than they are the center of attention. Jumping around in his discography, Bundick pays most attention to his two most recent albums, 2015’s What For? and 2013’s Anything in Return. Something about the latter, however, seems to draw more of a response.
Songs like “So Many Details” and “Say That,” already crowd favorites in their own right, fill the floor with energy and nostalgia, while the former album’s “Buffalo” and “Lilly” maintain the milquetoast mood of the LP itself. Also happily received was the band’s cover of Unknown Mortal Orchestra’s “Multi-Love.” Expressing distaste towards encores — at least, the “predictable” kind — Bundick plays his set straight through.
Leaving the show, one doesn’t walk away with one impactful moment in mind. The performance, like Toro y Moi’s overall aesthetic, settles like one chillwave-heavy experience. True to Bundick’s form, it’s the atmosphere that defines — not the climax.