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    Music Review

    Disclosure brings dance fever to the Sinclair

    Guy (left) and Howard Lawrence of Disclosure performing in Brooklyn, N.Y.
    Chad Batka for The New York Times/File 2012
    Guy (left) and Howard Lawrence of Disclosure performing in Brooklyn, N.Y.

    CAMBRIDGE — If 8:30 p.m. on a Monday seems like an inopportune time for a dance party, nobody bothered to tell Disclosure fans, who shed their parkas and crammed into the sold-out Sinclair for the first Boston appearance of the UK electronic duo.

    Though quite young, the brotherly team of Guy and Howard Lawrence (age 21 and 18, respectively) have demonstrated a unique understanding of the textures and nuances of classic mid-’90s UK house, along with a savvy knack for updating that sound to meet the demands of today’s clubgoers, who crave bigger bass and more death-defying drops.

    On Monday, the Lawrence brothers moved briskly through what felt like the entirety of their fledgling catalog, built primarily of cuts from their EP “The Face” as well as collaborations with a host of rising vocalists, none of whom were along for the ride on this tour. The crowd was content to watch the brothers wring the rag dry — for a few songs, that is.


    As more producers take to the stage for “live shows,” the old audience paradigm gets flipped: Close attention to the stage is a sign of boredom; frenzied dancing, of the sort that accompanied Disclosure’s entire set, is a show of success. Respectfully, the brothers went beyond just tapping the space bar on their laptops and monitoring their monitors: Howard busied himself with an array of percussion, and Guy picked up a bass now and then, but the effect of those efforts was largely symbolic, with the duo’s prerecorded productions handling the bulk of the work, especially on rhythmically slippery tracks like “What’s In Your Head,” “Tenderly,” and “White Noise.” The pair closed with “Running” — a powerful, chunky remix of a Jessie Ware track. They encored with a new untitled track (daring!) as well as the biggest of their hits, “Latch” (not as daring). It was a Saturday night vibe that vaporized all too quickly back into Monday.

    As an opening act, Arnold — a member of the Boston-based production collective M|O|D — had the tough task of stirring up a room full of early arrivals, and rose to the challenge with a mix of punchy, freewheeling house (of a ’90s R&B-inflected sort that nicely complemented Disclosure) and tweaked-out trap diversions.

    Michael Andor Brodeur can be reached at Follow him on Twitter @MBrodeur.