Whether intentional or not, Sydney group Cameras played a set that felt like it was all rather adult. Perhaps it was the fact that the guys were wearing smart shirts while the two ladies were all dolled up, as singer Eleanor Dunlop sipped away at a glass of red and played her keyboard front and centre stage. Or it could be that the songs and the writing seemed to have a mature element that hinted at more than just another garden-variety keys/bass/guitar/drums/percussion combo.

They started with “Polarise” where they added layer upon layer of sonic complexity that resulted in a wonderful piece of atmospherics that sounded like a Foals number crossed with Joy Division. “Defeatist” meanwhile, fit the art rock bill and borrowed elements from Dappled Cities’ “Vision Bell” and an Arctic Monkeys song. But this was also lead by Dunlop’s vocals that are both ethereal and powerful like Florence Welch.

The songs “Kreuzberg” and “June” followed and guitarist, Fraser Harvey took up lead vocals for a few of these, shifting the band dynamic and keeping things interesting. His expert playing also kept things fresh and gave the impression that the group as a whole are not content to sit on the laurels and employ just one genre or style but instead look for inspiration from various musical signposts. This meant their set clocked everything from broody atmospherics to overblown western-inspired standoffs, and sultry pop to catchy rock and just about everything in between.

If Cameras espoused maturity then We Say Bamboulee looked like the group’s gawky young brothers. Doug Wright and Peter Fitzgibbon are wizards with their synths and their ability to create intricately complex electronica in the manner of Can or Neu! and Russell Fitzgibbon’s live drums add another special dimension. However, frontman Doug Wright played the awkward nerd card to a tee. His stunted attempts at stage banter made Michael Cera’s shtick seem normal!

“Swingsets” contained big and epic electronica beats combined with gorgeous harmonising and memories of playing barefoot in a park and eating Zooper Doopers. There was some 80s dance pop courtesy of “Unwelcome Copacabana Holiday” while “Going Up” was full of bubblegum syrupiness. “Waiting In Wisconsin” boasted floaty, dream-like vocals and “Solid Gold” was the musical equivalent of seeing three Aussie blokes turn calypso and sing The Belle Stars cover of “Iko Iko”. They finished with “Funeral Social” and in short, it was all good fun.

The audience were then treated to some unusual between-set music courtesy of the Godfather of Grunge, Mr. Neil Young. Although we didn’t get “Rockin’ In The Free World” we did get a serving of “Cowgirl In The Sand” and “Comes A Time,” among others. At a little after 10:30pm the curtains opened as headliners, Guineafowl took to the stage. Their drum kit had a homemade “New Order” sign on it and they announced their new (borrowed) band name. Now apart from having a girl in the group and the fact that bass player Lachlan McQueen looks a little like a young Peter Hook (although a more Joy Division-era than New Order-era Hooky) it was hard to see the reasoning behind the reference to the Manchurians. Although to be fair, the Sydneysiders are armed with a great batch of songs and appear ready to go on to bigger and better things.

The group have come a long way since Guineafowl demoed some songs on his laptop and then gathered some mates and fellow musicians to join him. The six-piece immediately lifted the energy levels to high as they started with some catchy indietronica (think indie rock with key flourishes and loops) for a romping, stomping slice of sheer exuberance. “Guillotine” only picked things up from here with its shiny Shins-like vibe while the group seemed to ooze warmth, energy and vibrancy.

Guineafowl and band are the kinds of artists that make you want to simultaneously dance and sit back with a dopey grin on your face as you relish every note, tick and gorgeous quirk. And never mind appearing silly, as this is a collective that have a keen sense of humour and make odd and goofball dance moves look pleasant and cool.

“If Every Little Thing Counts” featured a childlike bounce and sheer, unashamed optimism and single “In Our Circles” was a ray of golden light. “Mothr” however, was a softer ditty through black and white movies containing a cheeky reference to Madonna’s “Like A Virgin” (at least in part through the bassline). I can confirm that Mamma Guineafowl was in attendance and received her own personal song dedication from her gushing son.

The group’s refreshing sense of enthusiasm continued into “Little Fingers” and was topped off by some air punches. It also had the overarching message that just about anything can happen if you set your mind to it and do a little work. And with the successes amassed by these musicians in that everything has gone so well so quickly, there is no doubt that this track is very close to their hearts and could be a band theme tune if they ever needed to pick one.

“My Lonely Arms” was a love song boasting the kind of innocence left behind in the 60s where you could almost picture some young ladies sashaying away to the stirring beat. For “Botanist” the group got a fan club of sorts to clap along with them, making the stage even more squashy than usual. It felt a little like Iggy Pop inviting his charges up to join him but with a lot more smiles and joy at the thorny clapping and hop-skip-jump rhythm.

They played one more song before leaving the stage for some sartorial additions for the encore. Decked out in some baseball caps, they did a cover of Hilltop Hoods’ “The Nosebleed Section” where guitarist, Douglas S Thompson did a convincing turn as an impassioned MC. The last track came courtesy of a new addition with a funky guitar lick and hints at The Strokes’ “Last Nite”. Guineafowl had played an impressive set that clocked in at just under an hour. With their arsenal of infectious indietronica and their natural ability to make us all dance and laugh, it’s fair to say that everyone in the full Oxford Art Factory left with a huge grin on their face. And the band wouldn’t have had it any other way!