There's much to be said about the Underworld show at the Bank of America Pavilion, but imagine this: after a long day of indecisive weather, an autumn climate sets in and is warded off at the show mainly because of the many bodies inside the high, white tent of the venue. It was starting to get a bit cold, but putting on a hoodie was unnecessary. The body wasn't cooling down...it was getting chills.

Within the first three or four songs, Karl Hyde broke into "Two Months Off" - the worthiest of tracks from Underworld's fourth studio album, One Hundred Years Off, from 2002: "You bring light in / cool wind following / following after you..." Paired with the electronic accompainment of his significant musical other, Rick Smith, and Darren Price, Hyde danced around the stage as the most organic source of entertainment. What makes an Underworld performance so mind-blowing is the genuine bliss that emanates from both the soundboards and those controlling its knobs.

Post and photo contributed by Vicki Siolos. More review after the jump!

One might go as far to say that the greatest imaginable Underworld performance would be one in which they could play their entire catalogue, sifting through the variety and personality that has brought them from 1993's dubnobasswithmyheadman all the way through to the 21st century and beyond with the forthcoming Oblivion With Bells next month.

The visuals were intimate, changing between abstract images to Hyde grabbing a mini-cam to point it directly into his face or at the crowd or to ancient video games (i.e. Asteroid, Pong). Smith and Price stood rather still while Hyde ran across every inch of the stage, taking it up and demanding its space like Peter Murphy or Iggy Pop.

One can't help but wonder, though, if Underworld have come to realize that 1999's Beaucoup Fish may very well be their greatest work - an album that maximized their potential and electricity that sparked, ignited, and finally exploded with their first two records. "King of Snake" was epic. The liturgical monster that was "Born Slippy," though, was matchless. It's their most well-known track, best recognized for its momentous placement in the film Trainspotting, and it glued the entire performance together.

By that point, the enormous, inflatable glowsticks (no joke) had been removed from their stage set, but lights and visuals mattered little - we were all completely enraptured by the set, which lasted two full hours and hit all of the right nerves. Looking thoroughly pleased, Karl Hyde thanked the crowd, saying they could imagine no better send-off as they leave America to return to the UK.