In front of a home crowd, Perth outfit Little Birdy could do no wrong. As part of their Hollywood tour, the Birdies set Metropolis Fremantle alight with a stunning showcase of both their new record and old favourites, returning home with a fresh sense of conviction and maturity.

Kicking off tonight’s proceedings is fellow Perthite Abbe Fuzz of The Fuzz fame. Commanding the stage with her bluesy rock stylings, Fuzz does well to impress the typically small, yet appreciative early bird crowd. Providing even more local representation, late inclusion The Avenues are a welcome addition to the bill. Demonstrating why they have a strong reputation as tight-knit live act, they do not disappoint the accumulating crowd. Injecting the venue with their catchy pop rock melodies, The Avenues discharge an energetic set which is sure to have won over a few of the punters.

The venue has filled up considerably by the time The Red Riders step onto the stage. Building a name for themselves of late, this Adelaide four-piece has been busy supporting the likes of The Vines and the Living End, and they have recently won the opening slot for Snow Patrol’s Australian shows next year – a testament to their growing popularity. Their brand of upbeat indie-rock catches the crowd’s interest and draws a few more to the dance floor. Slide in Next to Me is the definite highlight of the set as the Red Riders present themselves as another young Aussie band on the rise.

But of course, it isn’t until the opening notes of Little Birdy’s instrumental track Music for Love Robots that the Metro’s crowd fully comes alive. Amidst some wild albeit excessive fangirl squeals, the Birdies emerge embarking on what would be yet another outstanding show for the local crowd. Adorning a retro white jacket and black leather skirt, frontwoman Katy Steele’s dominant stage presence cannot be denied as she gives off an aura that just commands attention.

Moving straight onto current single Come On Come On, Little Birdy give the punters tonight’s first taste of their sophomore record. With Hollywood taking the band in a considerably new direction, the Birdies are keen to show off the newer, edgier style, laden with crunchy electro beats and addictive keyboard hooks. The band oozes of enthusiasm and vivacity, and it translates to the lively crowd.

Although, as was always going to be the case, it is the older material that draws the biggest response from the punters. Fan favourite Tonight’s the Night gets a roaring reception, as does hit single Beautiful to Me and Relapse, the band’s first ever single, later on in the night. Returning to the country-flavoured, guitar-driven rock that spawned their loyal following, the Birdies feed the thrilled audience what ‘re hungry for. Steele’s unmistakable voice soars over guitarist Simon Leach’s punchy riffs and the fans could not be more content.

Steele steps out from behind the guitar during Music, leaving guitar duties to Leach. Taking this opportunity to let loose on the stage with some sizzling dance manoeuvres (in heels, take note), Steele shows why she is Perth’s premier rock chick.

Unfortunately, technical difficulties inhibit the Birdies from a flawless night. The crew never really achieves the perfect mix, with a few annoying imperfections plaguing the set. In a couple of instances the bass is unbearable, drowning out Steele and the rest of the band. Backing vocals from keyboardist and guitarist Fergus Deasy and bass guitarist  Scott ‘Barney’ O’Donoghue need to be thrice as loud and can barely be heard in the mix.

Causing further headaches, O’Donoghue manages to break a string during Music which brings about a slight disruption in the set. An impromptu jam between Deasy and Leach passes the time as does a bit of standup from Steele (What did Zero say to Eight? Nice belt). Despite the polite laughter, Steele should probably stick with her forte.

All the same, if the adoring crowd care one iota about these hiccups, the constant cheers and applause certainly indicate otherwise. Getting the show back on track, a fiery rendition of Gyroscope’s Beware Wolf and future single Bodies reignite the crowd, along with old school favourites This is a Love Song and Relapse. Finishing the night’s formalities with the infectious After Dark and Split Enz cover Six Months in a Leaky Boat, Little Birdy leave the stage as hometown heroes. The fierce applause continues as they return for the encore after a minute or two. Thanking thr crowd for their continuing support, Steele seems genuinely ecstatic with the local reception.

Piano ballad On and On entrances the crowd, emerging as a firm highlight of the night. Steele and Deasy’s haunting vocals give a glimpse into another side of the new record and if this is any indication of where the band is headed then the punters have something to be very excited about. After the obligatory Beautiful to Me, which instigates a short-lived arm wave session, the Birdies bring it home in style with new tunes Lay Me Down and Don’t.

Once again, Little Birdy have stepped it up on the home turf and Perth makes sure they know it. It is unfortunate that the most enthusiastic reception is for the most part, limited to the older tunes and singles. Nevertheless, the Birdies have undoubtedly entered an enthralling new chapter in their existence, and it’s only a matter of time before the punters wholeheartedly jump aboard.