Most marauders of the indie scene will be au fait with the pigeonholes of indie-rock, folk-indie and alt-indie, but London five-piece Fanfarlo also skilfully plunder elements as diverse as 80s synth pop and baroque-rock so that their sound cannot be neatly defined. After critical success of their first album Reservoir, which channelled the rousing optimism of Arcade Fire and the whimsical nature of Belle and Sebastian, they released the follow up Rooms Filled with Light last year. This saw them incorporate a well-received 80s neo-pop flourish to their sound and it's in this direction that they have continued to travel down, as they returned to the stage to promote their upcoming 4-track EP The Sea.

Aptly named Pale Seas were the inspiring support act proffering dreamy harmonies and confidently crafted folk-rock. Lead singer Jacob Scott has an engaging tone to his voice and looked every inch the front man in a denim jacket with cut off sleeves and slicked back hair; in both sound and appearance he's redolent of Jake Bugg. Drummer Zealah Izabella Anstey lends beguiling beauty to the harmonies especially on 'Bodies'. A highlight of their set was 'Something or Nothing' where gentle rhythms on bass, drums and guitar underpin nostalgic and laidback vocals. After this appetiser I for one will be highly anticipating their impending debut album.

Once Fanfarlo took to the stage bathed in red light and wearing smart black apparel, it felt like boldly stepping into a scene from an 80s film. Opening with the title track from their new EP The Sea, Fanfarlo are more subtle of sound than appearance, as the song meanders along without any dramatics, but is nice enough. It's a wistful longing for humankind to return to the sea rather than an expression of the sea's turbulent nature. This sauntering pace is continued with 'Bones' which offers up melodious violin and the softening of Simon Balthazar's distinct voice by Cathy Lucus' backing vocals.

The tempo begins to build with 'Ghosts' from their debut album, which has a distinctive bass line and an innate sense of optimism delivered by Leon Beckenham's melody on trumpet. Then with silver shaker in hand, Balthazar shimmies us back to the 80s with new track 'A Distance'; a synth-pop gem, complete with the odd high pitched whoop and clipped howl from the lead singer.

Although this band seems to possess all the ingredients to create alchemy, they do not appear at present to have the formula to turn their tracks into gold on stage. Despite Fanfarlo giving it their all, it felt at times like there was a lack of chemistry between the musicians and the audience. What they are skilled at doing is showcasing the variety of their instrumental talents. Most notably 'Lenslife' incorporates stripped back keyboard and violin in the verse before opening out into a rousing chorus with uplifting drumbeats and bursts of trumpet. The sax and trumpet intro to 'Tunguska' likewise uplifted the crowd.

We've all got some love for the 80s so it was a particular highlight when Balthazar punched out the lyrics to 'Rip it Up' by Orange Juice. The whole band were clearly channelling this 80s vibe throughout the set and relished giving their take on this post-punk classic. Ultimately the band left on a high after returning for a two song encore which culminated in 'Harold T. Wilkins, Or How To Wait For A Very Long Time', which expels oodles of optimistic charm.

I was expecting more of an acoustic sounding indie rise and fall from this band, with flourishes of more random instrumental influences, instead what I experienced was almost an 80s rebranding of their earlier work and a taste of the direction their new material will be moving in. This venture into musical pastures new is an exciting one, but I think that their fans may want them to occasionally hark back to their earlier more stripped back renditions of their songs on stage. They are undeniably good, but are yet to realise their potential to be great.