Why does the phrase “Architecture In Helsinki” call to mind an Australian indie group rather than a Finnish college course? Those who’ve seen AIH in action know the answer. This energetic six-piece has a way of intoxicating its audience, making the crowd just as ecstatic to see the performance as AIH is to be playing it. At the Starlight Ballroom, Architecture In Helsinki evoked the feeling of that last step off the school bus into a summer of freedom.

Pittsburgh’s Black Moth Super Rainbow warmed up the crowd for Architecture In Helsinki—even though the temperature in the Starlight Ballroom was quite warm enough. The singer, who goes by the name Tobacco, wore a fuzzy wolf’s-head hood and sat on the edge of the stage, using a vocoder during a few songs to create distorted, robotic-sounding vocals. Black Moth Super Rainbow maintained an intense, heavy beat throughout its set, which resulted in approving-yet-composed bobbing heads and jerking legs from the crowd. The drums and bass provided a steady, pulsing rhythm, while synthesizers added a techno melody. Each song seemed to blend into the next, keeping things relatively mellow—think Fujiya & Miyagi channeling Radiohead or Pink Floyd. An accompanying slideshow included video clips of Richard Simmons, trippy flashing colors, and bizarre cartoons of animals, rainbows, bugs, tacos, hot dogs and dancing shapes.

Santogold (a.k.a. Brooklyn-via-Philly singer Santi White) seemed like an odd addition to the indie-rock lineup; nevertheless, her hip-hop and reggae-influenced music showcased her strong voice and got a few audience members moving. Santogold, whose vocals brought to mind M.I.A. and Gwen Stefani, was supported by an energetic group of all-male instrumentalists, who used a drum set, guitars and bass along with programmed beats.  

Architecture In Helsinki’s entrance gave a new excitement to the room, and the vibrant band members addressed the audience with smiles and welcoming words. The five men and lone female immediately broke into fast and fun songs, including “One Heavy February” from 2003 debut Fingers Crossed and “Frenchy, I’m Faking” from 2005’s In Case We Die. Much of AIH’s energy came from its percussion section: a drum set and a mess of instruments including the tambourine, shaker, electronic drums, congas, triangle and, of course, handclaps. The group members nonchalantly switched instruments between songs, and a trombone was used during songs from the upcoming August release Places Like This. “Wishbone” from In Case We Die sparked a frantic mass of jumping, clapping and dancing bodies. AIH played several more tunes from In Case We Die, including such upbeat songs as “The Cemetery,” “It’5!,” “Maybe You Can Owe Me” and “Let’s Do The Whirlwind.” The band changed up the tempo of a few songs but—aside from ratcheting up the energy and volume—mostly remained faithful the album versions.

Although the crowd was ecstatic about hearing familiar favorites, Architecture In Helsinki also experimented with new material from Places Like This. The unfamiliar music didn’t inhibit the audience from enjoying themselves, though, and boys and girls bobbed, jumped and screamed along to new songs “Debbie,” “Hold Music,” “Lazy (Lazy)” and “Like It Or Not.” AIH lead singer Cameron Bird provided an anecdote before blasting into “Like It Or Not,” explaining that an encounter with a certain Philadelphia convenience store earlier in the day provoked the group to declare the song their Philly anthem, due to its refrain of “wawawawa.” The crowd obligingly shouted the chorus, most likely with visions of local chain Wawa’s iced tea, coffee, cigarettes and hoagies in their heads.

After leaving a room full of sweat and grins, Architecture In Helsinki returned for an encore with Bird exclaiming, “Let’s give it up for Benjamin Franklin!” and jumped into “Neverevereverdid” from In Case We Die. AIH’s intimacy and enthusiasm spilled out into the audience, and the band concluded with their latest single, “Heart It Races,” leaving the crowd eager to do the whirlwind again.

—Alison Swety