Claire Evans and Jona Bechtolt of Portland dance duo YACHT would probably like you to believe that their high-energy shows are the product of some divine assistance. Much like their supernaturally infused 2009 release, "See Mystery Lights," the group's Saturday night performance at the Triple Rock Social Club felt less like a rock concert and more like a spiritual revival. And atop the pulpit was Evans as the evening's reigning reverend. The leggy bleach-blonde vocalist, dressed head to short-shorts in white attire, ministered her way through a raucous, sweaty set of new material and "See Mystery Lights" standouts. It was interesting to see how Evans, who made Bechtolt's solo project a duo in 2008, has taken up the role of de facto frontwoman. Bechtolt, the ying to Evans' yang, played a comparably reserved part above his keyboards. Dressed in all black, the YACHT founder provided more of a backing melodic role to Evans' many spoken assertions. His diminished position could have also simply stemmed from the fact that Evans' engrossing stage presence was too grand to match. Perpetually tangled in her spool of microphone cordage, she gyrated her way between crowd and stage. Her mingling presence only elevated the band's fascination with spiritual unity. Tracks like the exalted chant-laden "The Afterlife" felt bigger when backed by such an inclusive persona, not to mention the richer textures that their five-piece touring roster created. She may have shined the brightest during an equally brash but doubly danceable cover of Judas Priest's "Breaking the Law." The bouncing crowd even ate YACHT's sprinkling of new material right from Evans' ever-moving hand. The group is releasing their fifth LP, "Shangri-La," on June 21, and its more brazen tracks like "Dystopia (The Earth is On Fire)" offered a welcome counterpoint to the evening's stream of blissful chants. Notably absent was YACHT's earlier material, but it is unlikely that even the diehards felt any sadness from such an omission. Simply put, Bechtolt's sparser solo creations are underwhelming when placed against his post-Evans creations. With the spiritual repositioning that came after "See Mystery Lights," it seems that the band is more interested in moving forward than looking too far back. It's a philosophy that should suit them just fine. Judging by the fervent crowd, many abiding to the light-dark dress code, Evans and Bechtolt are slowly collecting a patch of disciples that will likely follow them anywhere.