https://www.austinchronicle.com/daily/music/2015-10-03/acl-review-disclosure/

ACL Review: Disclosure

By Kahron Spearman, October 3, 2015, 11:45am, Earache!

“I bet they start with ‘Latch,’” proclaimed the young’un triumphantly. “That’s what people want to hear.”

Strong and wrong, the young fan, and many more, were treated to what will likely rival any live performance this year, as Disclosure summarily dominated the Honda stage. In an outsized performance of all high notes reminiscent of UK “sound system” lore (speakers replaced with lighting), the young brother duo upped the ante with a perfect set list.

From “White Noise” and “F for You,” the Lawrence boys from Surrey demonstrated their conversion into a live act by playing the most dynamic portions of each track – usually the bass line and a percussion layer. Howard boasted excellent vocal talent on “Jaded.” The night’s best moment came during Brandon Reilly’s live assist on the chilled “Moving Mountains,” which ramped up into a well-executed trap finish.

One excellent wrinkle, on tracks Howard’s voice isn’t featured, was the lockstep syncing of the light effects, which include overlays of the featured vocalists: Sam Smith on “Omen,” Gregory Porter in “Holding On,” and Lion Babe for “Hourglass.” The same effect occurs in the Weeknd-assisted “Nocturnal,” but the Lawrences were fittingly lifted via a rising apparatus.

Not so obviously, the entire arrangement was actually a monumental step forward for the siblings. Their continued ascension is assured by their fan base. Almost on cue: “Of course they close with ‘Latch.’ So awesome.”

Indeed, young man.