The Dirty Projectors have been the hot topic of many Pitchfork and NME readers conversations for a while now. Their sweet, light, indie pop goes down as easy as a glass of milk and with glimpses of Architecture In Helsinki and other jangly twee bands, it’s easy to see why so many scene kids turned out to see them at the Rosemount on March 13 in Perth.

There seems to be a rash of these bands lately. They sound the same, they look the same and they attract the same fans. This cookie-cutter type of music could best be related to bubblegum pop only it’s a lot more about the “cool” factor rather than the consumer driven capitalistic worlds of the Lady GaGa’s and Beyonce’s.

Pikelet kicked things off. Evelyn Morris is an institution in Melbourne. People will latch on to anything that the lady does and with good reason. She’s an extremely talented girl who dabbles in loops and delay pedals to get her point across musically. While some could call her twee, technically she isn’t. She’s more of a one-girl band who floats around the stage, from one instrument to the next. She’s undefinable. Though, if you really had to pinpoint a style, she would be bliss.

With only one support, The Dirty Projectors quickly took to the stage. Instantly, the room swelled with people all dancing in time to whatever the American band had to offer. The Dirty Projectors got a name for themselves rather quickly by collaborating with people like David Byrne and Bjork. While they’ve produced at least one album a year since their debut in 2002, it wasn’t til the last year that people in Australia really started to take notice. As they moved through their set list; consisting mostly of songs from Bitte Orca, every song started to sound the same. The set became a blur of avant pop and soon became tiring.

The Dirty Projectors may have struggled to keep the attention of some of the punters but at least Pikelet had done enough in her short set to keep everyone smiling till the very end of the night.

Photos by Beth Wilkinson for Fasterlouder