Despite Darwin Deez (aka Darwin Smith)’s New York twang appearing throughout his songs, I’m still surprised when it comes out of his mouth.

“Are you nervous?” I ask as he sidles about the crowd in typical vest, jeans, and bearably silly string-headband attachment.

“I was before, but not now” he admits, sloping off for a cupcake.

Soon to be playing as part of the NME Radar Tour, he’s playing at the sold out Black Heart in Camden organised by The Allotment, a small group of people I have more time for than the NME who work by the simple ethic of ‘we promote what we like’. It’s a gorgeous little venue; a box room where my hand’s greeted with a red pen smiley face drawn onto it. Naked orange filaments shine down and the squat stage is adorned with Orange amps, foam flowers and bendy rubber tube lights snaking about. The white-brick wall has 40s style up-turned lamps and balloons bundled about, and “Darwin Deez” in hand-made tissue paper letters plastered over it to the left of the stage. The whole thing reeks beautifully of home-craft and love.

We loiter and eat cupcakes.

The support, Extradition Order, starts and finishes; the singer belting into the mic with a habit of anxiously tearing his hair out as he sings, and the drummer pouting in the background.

Darwin Deez dive into ‘Hot Nights’ and ‘Up in the Clouds’, tunes pulled from outside their debut album. Three tracks later and the crowd is thick and stocky until the back wall. Jumpy, noisy notes blare out, crammed into the small space. They are long, pleasing five minute deals which keep and demand attention.

“I want to get drunk. On beer! Hah!” he says into the mic, laughing at the seemingly impossible task.

My research on Darwin Deez has extended to repeated watching of Radar Detector and a short listen to a couple of other tracks. Until I am saving face in a conversation, it does not strike me that they are in fact, a band. He’s joined by sister Michelle, without a string headband but with a penchant for diving into guitar beats with almost grungy grooving, and second guitarist Cole with a red and white striped top, rocking a faded denim jacket, backwards baseball hat and jeans rolled up around his ankles, teal socks pooling. The drummer beats zebra-striped drums. It’s a little bit indie alright.

The gig is infectious, fantastic fun and gets the first three rows dancing, unashamedly breaking the indie past-time of toe-tapping.

“I can’t see,” complains the fourth row, and when Darwin launches into the middle of the crowd with his madcap dancing they look shocked, and happily terrified. There’s a shriek and a pileup as they throw themselves at the floor before launching back into happy, greedy notes of Radar Detector.

The lights point down at the Allotment sign hanging over the drummer, leaving Darwin mostly in the dark. The crowd keep him lit with hectic, repetitive white camera flashes. The guitarists bop in and out of the light. They pull out great renditions of Deep Sea Divers, though throughout the gig no song sags.

They hit hidden pop hearts as Beyonce’s Single Ladies streams out for choreographed dancing which all four launch into with smiles. Hands waves and arms wield in silly choreographed routines similar to what, with a bit of effort, I could have hoped to make part of a Spice Girls routine aged 9.

“Thank you for the cake!” he shouts before heading off to return for an encore.

It’s playful, confidently happy lo-fi pop, it’s got people dancing and it’s entirely lovable.  We filter out pleased, keen to play Darwin Deez at loud volumes with smiles on our faces.

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