It was a brave and dedicated crowd that waded through torrential downpour on Friday night to see The Infadels blow out the Gaelic as part of a whirlwind Aussie stopover that barely saw them touch the ground. If you missed them, you missed out as they’re back in the UK now, next stop Glastonbury for the slushy British summer. Well technically, its next stop a bunch of publicity-focused DJ sets in random clubs, but you get the point – if you ventured out for the We Love Sounds sideshow, it was probably worth it.

Rewinding back to when the night really started, Dukes of Windsor were on stage when we walked through the doors and let it be said, they were far and away the best support band I’ve seen all year. With zero expectations, the Melbourne-based five-piece blew me away with their incredibly captivating electro-based set. The way the keyboardist, drummer, bassist and guitarist managed to remain so tightly in synch with each other was a particular highlight and it really gave their songs added impact, which they put to good use through the gripping chorus of The Others. Also entertaining was the frenetic energy of lead singer Jack Weaving, who became so wound up with enthusiasm he scrambled at one point right off the stage and climbed like a monkey to the second level of the venue. Not to say it’s never been done before, but it’s nice to know the spirit of the seventies lives on, even in a time when hotdog-printed hoodies rule the world.

The Dukes of Windsor made such an impression that The Infadels, in comparison, felt just a tad staid when they stepped up to take over. It’s perhaps natural that a band that has been around as long as they have, and who have graced so many esteemed stages should sound a little well-rehearsed and plastic, but this polished and almost tired set seemed out of place at The Gaelic, whose walls so often bleed with the raw energy of youth. Technically proficient and excellent showmen though they were, what the Infadels seemed to lack was an element of soul. Possibly, to be fair, I was the only one who felt this way, as it was clearly a room full of fans and there was much love to be found in the air. By the time they busted out with Girl That Speaks No Words I’d mostly forgotten their lukewarm entrance, and the rest of the set played was out in far better form, with increasing energy, a more natural and relaxed onstage presence and more than enough fuel to bounce around and dance.

Sunday was nicely done and the set was well structured, with softer songs strategically placed to keep the kiddies burning right to the end. Love Like Semtex picked up the pace again and was a predictable crowd favourite; it also showed the strength of lead singer Bnann’s ability to pick up the audience and carry them in the palm of his hand. The only minor gripe with the show itself was a tendency to flood inter-song silence with annoying banter along the lines of “Sydney rocks out better than Melbourne,” which, aside from being lame, was a bit unfair to the south-grown support. That said, by the time the house lights came on the crowd was still heaving and eager for more, and I very much doubt, despite the frog-friendly weather outside, that any taxis departing the venue were pointed somberly towards home.