“MAX. CAPACITY: 331” reads a sign in Vera’s main performance room. We were about 300 punters away from filling the space. That, coupled with the dearth of energy from those who were there, made for an atmosphere that was more doldrumsical Sunday than mad-for-it Saturday.

PWRFL Power (part-time local Kazutaka Nomura) didn’t up the energy level with his sit-down anti-comedy/singer-songwriter act. Well, it’s possible Kaz was funny with his between-song chatter, but his mumbles were drowned out by amp hum and room tone. It should go without saying, but YOU MUST PROJECT YOUR VOICE in live performance. I would have to have gotten inside Kaz’s shirt to hear what he was saying. I understand that fragility, fumbling, and introversion are part of his shtick, but his is not prime-time Saturday-night fare. The audience's golf claps that followed each song reinforced this feeling.

That said, Kaz’s acoustic guitar picking is spidery and willowy in a "Syd Barrett on the verge of mental breakdown" manner. “Jacket Song,” “Alma Song,” “Google Song,” and “Let Me Teach You How to Hold Chopsticks” all have quirky charms and an odd prettiness, but despite his extraordinary cheekbones and winning smile, this live experience felt lacking.

These Are Powers drove from Missoula, Montana through a blizzard to make it to Seattle. To say the least, they seemed underwhelmed by the turnout. Nevertheless, the trio gamely tried to rile some wildness from the crowd, but it was futile. Which is not to say that we didn’t like These Are Powers; it’s just that everyone had that dejected “we’re losing an hour of sleep” feeling about them. Movement was minimal.

Brandishing more effects pedals than I’ve ever seen from one band (TAP set up on the floor rather than onstage, so their gear was easy to ogle), the threesome churned out their fractured, “On-U Sound dub goes no wave” tracks, fronted by the tall, lithe Anna Barie. This vocal acrobat had enough vigor for everyone in the house. Pat Noecker’s bass often sounded more like Adrian Belew’s rhino-howl guitar and warped ambulance sirens than typical low-end emissions. Bill Salas manned his unconventional drum kit and sampler with admirable facility. The set highlights were “Easy Answers,” with its camera-shutter rhythm and squawking bass, and a stalking, foundation-threatening dub number called “Light After Sound.”

Next time—if there is a next time—These Are Powers come through Seattle, let’s hope it happens under more auspicious circumstances.