"When I've been to Brighton before I've lost my voice, and last time we had bad sound. I'm being very careful tonight that I don't fall over and break my neck."

So said Woodpigeon frontman and songwriter Mark Hamilton as he led his five-piece band through a set combining his trademark acoustic sound with a strange electronic undercurrent.

As well as his lightly-strummed electric guitar and a violin, the line-up featured a Korg synthesiser to stand in for the multi-layered orchestration that features on his records.

Unfortunately this was the instrument that frequently dominated the set, turning Woodpigeon into some strange kind of synth-pop band. The song structures belied Woodpigeon's studio origins, many beginning with just Hamilton's vocals and guitar before introducing different musical elements, underlining his technique of layering his recordings.

Many featured a repeating refrain, be it a popping synth line, a looped guitar strum or driving percussion. And all were characterised by Hamilton's distinctive high voice, which contrasted with his bearded and backwoodsman persona, resembling Scritti Politti's Green Gartside, and combining well with his two female backing singers.

What the songs were lacking were real hooks though, with each mini symphony leaving little impression once it had been performed.

It was a contrast to Woodpigeon's support Laura Gibson, whose folk-picking acoustic songs were stripped off all but the most sympathetic orchestration - just a lightly tapped drum kit, and occasional trumpet or melodica.

The Oregon-based singer-songwriter brought in the audience to provide elements of the songs, from improvised percussion to a chorus of 'woos' which accompanied her final acapella tune.

It proved that sometimes less is more.