How does such a simple concept get so conceited? There hardly seems the room for so much stuffiness given the plain stage, gray one-piece outfits, and white minimalist masks (each with a pixilated Katamari Damacy-like cut-out that gives it a “personality”). But sure enough, there’s a trademark in The Only Tribe’s logo. The “simple” stage actually houses 3LD’s Eyeliner technology, which lets Reid Farrington clutter it with commercial images and dancing holograms. Roland Gebhardt’s masked modernity is well-matched by Peter Kyle’s geometric choreography, and they move nicely to Stephen Barber’s chic electronica, but all this conjures is a high-brow Alexander movement class. Perhaps most damning is that Rebecca Bannor-Addae is credited as a writer for this silent piece: you can read her “story” at www.theonlytribe.com, but why bother? A few pretty moments and a solid back-beat can’t mask The Only Tribe’s flaw: after all, what is pretension but the meaningless grasp for importance?