Arriving just before 9 was not the optimum time. Packed nice and snug into Capitol were many loved up couples and a smattering of third wheel friends that left little room for jostling a close position.

Opening to the full house Perth locals The Autumn Isles were a perfect complement to the main act with their chirpy indie pop tunes.

With an uplifting affect their songs offer escape from the struggles of the day and had the desired result with the audience toe tapping hanging on the end of every country twang in Beautiful Pantomime and fairground organ in It’s Been A While.

In terms of infectious pop the incubation period for many tracks outlasts swine flu with melodies still swirling in the cochlear post gig. On their conclusion The Autumn Isles did well to inform the audience of their upcoming Thursday night residency at The Velvet Lounge with various local guests.

Awaiting the main act a strange soundtrack played while the plasma televisions located on the back walls of the bar area showed a series of conflicting video clips. The expanse of tightly gathered crowd also posed questions such as who are these Okkvellian Riverina fans and where do they come from?

While the 2008 release of The Stand Ins was their 5th LP limited airplay on Australian radio could not be the source of their many contented fans. Seeking them out and seeing them live appear to be the reasons behind sparking so many listeners’ interest. Having played at PIAF in 2008 and performing their first Perth gig several years ago in the well missed mezzanine level of 78 Records music store there are clearly a number of people finding out about and falling in love with Okkervil River.

Having been on the same label Jagjaguwar since their inception and with label mates the likes Black Mountain and Bon Iver, Okkervil River don’t have to prove themselves they’ve already got the longevity.

Opening with Plus Ones the despondent sarcasm of singer Will Sheff’s lyric bloomed from the outset in a reflection of country small town beginnings. The bright instrumental score embraces pop and country from tambourine through to guitars, keyboard, trumpet and maracas.

Deeper and darker tracks showed the connection between band and audience like underground lovers. A Girl In Port had Sheff performing a solo ballad for most of the song while young women clasped their heaving breasts and dabbed at their damp cheeks.

Through the thickly accented and burbling vocals it was often difficult to understand the clearly structured and antagonistic lines that were touching so many. With the introduction to A Stone the faint femme effect came on again.

Picking up the mood the chorus stealing John Allyn Smith Sails took a page right out of The Beach Boys’ Sloop John B. Right to the end the clapping above heads and toe tapping never wavered in the audience who shared a love of a band that returned it in their own way.