Dots and Dashes wrote a lovely review of Vanderbilt Cup here.
… elements of Vanderbilt Cup may be equated to the forces of nature and such like: its spindly, finger-y guitars recall withered wintry branches outstretched into cold, dark nights; its release is bolstered by sturdy bass root notes; and Pritchard’s vocals evoke those of Carrie Brownstein at their most spring and sprightly. Thus if lyrically concerning the pitfalls of contradiction around which the privileged creative may tiptoe, musically it morphs and evolves cyclically, a little like seasonal change therefore. And indeed were the moniker a nod to Williamsburg’s Pool Parties of yore and the Brooklyn phenomenon were ever refilled with life anew, you’d certainly hope for Empty Pools to be poured into the ruckus…
There was also a lovely review of Wednesday’s show with Schnauser and Glis Glis on Venue.
There’s a calm across the surface of Empty Pools. A lilting sound suggestive of dreams to softly remember, Leah Pritchard’s smooth and articulate delivery recalling Kim Gordon in its easy, offhand self-assurance. And then the twinkling guitar pulls a flick-knife and cuts a couple of chords to shreds; the wonderful, happily burbling bass takes up a line of urgent concern. Presently, calm is restored, but for how long? Thus, a sound with a fabulous, compelling tension at its heart, a coolness and musical interplay suggesting The Liftmen moved from rural pond-side idyll into chic Manhattan tower block.