Before Tegan & Sara launched into Where Does the Good Go? at their packed Easter Sunday show at The Odgen Theater, Tegan centered her attention on a fan who was collapsing in the middle of the crowd - front and center.
"Are you OK?" said Tegan, who was by far the more talkative twin throughout Sunday's show (the sisters' famous banter was on the light side this time). "You look a little cross-eyed."
When it was apparent that the girl couldn't really stand up, Tegan asked for the house lights to be turned on and made the "executive decision" for security to help the girl out of the crowd and made sure she had friends to accompany her at the back of the venue. Also, curbing any condescension anyone may have perceived from the whole transaction, the Vancouver twin pointed out that she has been in a similar predicament herself many times before.
As some of us were still digesting the touching impact of this good deed, the gesture added a surge of ironic force to Where Does the Good Go? and to the sincerity of the band's whole set, which went on for nearly two hours and included most of Tegan & Sara's most recent release, Sainthood, as well as several crowd favorites from their previous two records.
Following a powerful belt-out performance by first opener Holly Miranda and a highly energetic and hypnotizing set by Steel Train, T&S opened with a Sainthood onslaught of The Ocean, On Directing, The Cure and Alligator.
After announcing that the next chapter of the set would consist of older numbers, they launched into a So Jealous window (they seem to like to group their live songs by album) featuring I Bet it Stung, a riveting rendition of Speak Slow that included an entertaining botch up by Sara on her guitar solo (after only a couple seconds' pause during which Tegan tossed some friendly ridicule at her sister, Sara and the band recommenced at exactly the right spot, playing the solo impeccably) and You Wouldn't Like Me.
This was followed by what may have been the best live versions ever (in the four T&S shows I've seen since the release of 2007's The Con) of The Con (title track) and Nineteen. Then it was back to Sainthood with Night Watch and Red Belt, followed by the girl fainting drama and a dynamic mix from the T&S discography with Where Does the Good Go?, Hop a Plane, Monday Monday Monday (one of just two played songs off of 2002's If It Was You), Sentimental Tune, So Jealous, Walking with a Ghost and Hell.
Before leaving the stage the first time, the sisters joined shoulders in the middle of the stage, bowing and waving in a genuine display of appreciation for the uproar of applause.
Not ones to fiddle around with an extended absence for their encore (what do bands do during those huge gaps when people clap til their hands hurt anyway? blow? restringing guitars?), the girls returned to the stage without their band mates for really, really good acoustic (xylophone and guitar) versions of Back in Your Head, Dark Come Soon and Call it Off (preceded by a story of heartache from Tegan about a girl she liked who changed her number).
With full band bringing the strains and twangs to life, the show wrapped up with Living Room (the only other "old" song in the set) and once again Tegan and Sara stood at the front of the stage, clapping in response to the immense clapping they were receiving, holding their hearts and bowing.
The band's American tour is nearly over, but they head to Australia for a stint next month, then to Europe, then back to the States for the Honda Civic Tour. They play Red Rocks Sept. 13 with Paramore.