Live music and launch parties seem to have a love/hate relationship at times. On one hand, live bands can offer a safe and somewhat universal form of entertainment. On the other hand, a live performance often asserts itself into its space, demanding a shift of focus among punters. And that shift isn’t always welcomed when music isn’t the drawcard.

This year’s Bicycle Film Festival music event Bikes Rock! suffered from this. The BFF is always a charming week, with filled bike racks lining the entrances to venues around Sydney in celebration of all things pedal-powered. Inside the Factory for Bikes Rock!, though, there wasn’t much bike-related. The gathered crowd was also pretty small and often seemed indifferent to the music on offer. It’s a shame, because the show boasted a solid Sydney line-up.

The night kicked off with Lions At Your Door, who were somewhat unfortunately booked to play just a few minutes after doors opened. With a big sound that took full advantage of their six members and a penchant for upbeat numbers, they seemed much more suited to the more celebratory end of one’s evening than the slow trickling through of punters that’s typical of a gig’s beginning.

They were certainly good – vocalist Cookie’s voice was a standout, and her bandmates formed a cohesive, tight machine – but it just failed to make an impression. Perhaps a moving experience isn’t exactly the point, and the group’s sprightly indie-pop certainly suggests that they’re more interested in moving your hips than your emotions. But while they were somewhat impressive, they ultimately failed to do either.

Taking a lower-key approach were Deep Sea Arcade, who played a more straightforward form of indie-pop that was reminiscent of local contemporaries such as The Small Hours and the earlier Dappled Cities material. Their pitch for attention seemed to take a thriftier approach, with light, catchy melodies rather than bombast, and it got heads nodding around the still-forming audience.

Far from being particularly unique, it was nonetheless a good set, although something has to be said for the singer’s attempts at stage presence. There’s a reason why quiet indie-pop has a convention of geeky, often shy frontmen – it suits the music’s unassuming, infectious nature well. And while interesting music thrives on those who bring their own innovations, there’s something about the Deep Sea Arcade frontman’s rock star posturing that seemed to be at odds with the rest of the performance. Often such exuberance can lift a group to new highs, but in this instance it just came off as awkward and a little disingenuous.

Fresh from a lengthy jaunt across the country with Modular labelmates Tame Impala, Jonathan Boulet and his band took the stage and demanded attention with a percussive opening, courtesy of some additional floor toms that would reappear throughout the set. Boulet’s music has a vibrant, rollicking appeal and his band do a great job of recreating it in a live setting, with a genuine enthusiasm often shines through. For some reason they did seem a little thrown at times, though, and their set didn’t quite hit the same highs that other recent shows have. Nonetheless it was an enjoyable set, particularly towards the end of the set with radio faves Continue Calling and A Community Service Announcement.

The audience finally gravitated to the front of the stage for Bridezilla, who closed with the most commanding performance of the night. Performing songs from their recent debut album, they showed a huge level of progression since they burst onto the scene amid a bevy of hype in 2006. Singer Holiday Sidewinder has a subdued yet magnetic stage presence, which is wonderfully matched with her bandmates, who skillfully weave conventional rock instruments with sax and violin to create music that is at times both delicate and assertive.

This ability to weave is one of the group’s main assets, with the violin in particular adding a great deal of texture to their songs, while rarely grappling for the limelight – something that can’t be said for a lot of other bands that introduce similar instruments.

Add a great drummer to anchor the whole thing down, and you’re left with a rich, nuanced sound that the group conveyed remarkably well in a live setting – perhaps the result of three years of solid touring that has seen them go from opening slots at Sydney pubs to recent international appearances such as ATP New York. If they continue at this rate, they’re destined to become one of our biggest musical assets.