A myriad of tables speckled with iridescent tea light candles at a quieted Toff in Town set the scene for Perth based Institut Polaire, with a humbled audience to boot.

But how did this merry mob come to be you might ask?

Once upon a time, more precisely back in 2004, Institut Polaire was a three piece roots gig started by American ex-pat Erik Hecht, English born scientist David Thirkettle-Watts, and country boy moved to the big city Ash Blakeney; who left the band in 2005, handing over his role to cousin Ben. They have now flourished into a full-blown band that bears every instrument (or anything possibly conceivable as an instrument) from vintage Wurlitzer pianos to violins, banjos, trumpets, MacBooks and glockenspiels.

And the ball that is Institut Polaire’s success, began its triumphant roll following their 2007 performance at the Perth leg of the Big Day Out after having won Triple J’s Unearthed competition for Western Australia.

Shortly after in February of the same year, Institut Polaire announced that they had been signed as the first Australian artist on Popfrenzy Records.

And this was the beginning of the noble seven to nine member collective.

Previously sharing the stage with such artists as Camera Obscura, The Clientele, Architecture in Helsinki, Jens Lekman, Lou Barlow, Gerling, New Buffalo, Starky, The Panics and The Lucksmiths, Institut Polaire proved that they are consistently deserving of a head-lining roles. Their 2008 claiming of Best Indie Pop Act at the WAMi Awards (Western Australian Music industry) certainly wouldn’t argue with that either.

But on this Sunday night the band were just a modest six, and no one dared speak as each tune floated on, letting the melody sink into the walls and skin of those present.

“We usually have a trumpet player,” muttered Hecht, following such an impulsive statement with the announcement of a new child and playing an equally as wondrous song to match, their 2006 WAM (Western Australian Music) Song of the Year, City Walls and Empires.

Princess in zebra print Samantha Wass, caressed the piano accordion, providing harmonic, well, harmonies, and at very least confirming the bands brilliant unity.

Between sips of fine red wine and beer, we were delivered a new song, or a “medium new song…only done a few times,” according to the man on guitar, but whatever its age it was music to our ears.

Followed sweetly by another new track, we were also informed that a new album should be expected in May this year, conveniently titled Make your own Mayflower.

Respects were also paid where they were due, and flattery never wandered astray. “Thank you to the Headless Satellites and Gabriel Lynch Band …and all you fine folk,” Hecht declared.

And despite the momentary curse of the tambourine stuck to Wass’s stockings, the evening proceeded magnificently, and ended as humbly and untailored as it had begun.