If their performance at Melbourne’s Esplanade Hotel is anything to go, Miami Horror’s, ‘Holiday’ Tour is aptly named. This four-piece indie-electro group has been making waves with its draw-card affect on the Australian festival circuit, and here I will tell you why. To put it quite simply, Miami Horror is just pure, unadulterated fun.

Bumbling my way through a sticky crowd at the Espy’s infamous Gershwin room, I was lucky enough to catch the last few minutes of the support, Kimbra, dowsing the crowd in some smooth, new age funk. I don’t doubt this twenty-something soulstress will be needing a support act of her own in the not too distant future, I’ll even go as far as to say you can hold me to that. One last minute dash to the bar and a quick search for the complimentary calippos, and I was ready to roll. My only gripe so far being the venue. I’m sorry Gershwin Room, but you just aren’t big enough when you’re at full capacity. By the time Miami Horror started some 30 fashionable minutes late, I could barely move an inch either side. Dancing? Not a chance.

Now, the hype around these guys is definitely deserved; they make even the most self conscious of concert goers forget their troubles and reach for the disco pants. They are also masters of mood lifting stage banter, one memorable quote of the night goes to this little doosy: “I hope somebody bought a cage, because we’ve got some party animals here tonight!” And they weren’t lying. Their album title Illumination was apparent in full force in the way of a mini light show. Strobes beamed for a while too, which acted as an entertaining backdrop to a tiny a set, fittingly decorated with palm trees and overhanging lanterns. It was easy to make myself believe I was on a grassy hill somewhere mid summer with some sticky beer tokens in my pocket.

Now to the sound: Pure synth-driven electro, pared well with catchy guitar riffs and smooth drum interludes: their music is very much a throwback; three parts 80s dance, one part disco house. Minus a few technical sound glitches at the beginning, they played a tight and professional set. Heck they even used a cowbell. Vocally, they started out a little rusty, but by the time crowd favourites Make You Mine and I look To You rolled around, I was convinced it might have just been some pre show nerves showing through. The notable tune Sometimes had the entire room moving, each of us forgetting for a moment that any attempt to get our groove on was probably knocking the drink out of someone’s hand.

You don’t come to a Miami Horror gig to judge musical genius or depth, if you do, use the rear exit and go home at once. Yes, they may be another transient ode to all things synth-pop, but if you aren’t even somewhat drawn into their infectious happy vibe then you probably need too loosen up a little. The encore performance of Paul Simon’s Call Me Al was a brilliant end to a holiday themed night and also a suitable salute to an era that has clearly been a heavy influence.

Miami Horror had me feelin’ it in my feet, they had me dancin….