The Moore Theater may seat 1,400 people, but last night it seemed as intimate as any venue in Seattle as Fleet Foxes made a triumphant return home after some extended touring. The band seemed completely at ease, joking with the crowd (front man Robin Pecknold engaged in some self-effacing, feigned name dropping- “I first heard this one at Dave Navarro’s house …”) and fielding cat calls from friends (guitarist Skye Skjelset got called out for not having a beard). Pecknold’s grade-school teachers were even in attendance, though it didn’t stop him from telling a story with the phrase, “It’s on, motherfuckers!” (He promptly apologized, slightly embarrassed.)

Charming banter aside, Fleet Foxes left no doubt that its recent success is totally deserved with a performance that drew on the gorgeous acoustics of the Moore for moments both stripped-down and beautifully full. Twelve songs into the set, Pecknold took the stage solo, unplugged his acoustic guitar and stepped to the front of the stage, mic-less, then proceeded to play a cover of Karen Dalton’s “Katie Cruel.” It was magical to hear Pecknold’s truly powerful voice fill the room, unaided and accompanied only by a hushed guitar. His solo performances of “Oliver James” and Judee Sill’s “Crayon Angels,” performed earlier in the set, were only slightly less magical.

No less impressive were Fleet Foxes’ lush, full-band numbers. From the opening a capella track “Sun King” to the stirring finale “Blue Ridge Mountains,” the band’s vocal harmonizing was spot-on and powerful. Renditions of “White Winter Hymnal,” and other anthemic tracks off the band’s self-titled debut full-length (”Ragged Wood,” “Quiet Houses”), as well as a new song, were performed with commanding majesty. The Moore turned out to be the perfect place to showcase Fleet Foxes’ ability to combine delicate, unapologetically-beautiful harmonies (choral and instrumental) with orchestral might and rock energy. Even the quietest subtleties were audible; the loudest moments hit with volume and verve without being overwhelmingly amplified.

Despite Pecknold’s bashful prediction that “next time we play here, it’ll probably be in the lobby,” we can only hope (and expect) that Fleet Foxes will get countless more opportunities to play venues–like the Moore–befitting of its gorgeous music.