There's nothing more frustrating than loving an album by yourself. Such is the case of Gem by U.S. Girls, the product of the Phil Spector produced psychedelic lo fi world of Meghan Remy's mind. It's a powerful journey through weird sounds, reverb laden guitars and girl group melodies that is firmly in my top ten of the year, despite the fact it seems to have slipped mostly unnoticed through the collective musical mind.

This night, however, Meghan, alongside husband Slim Twig, local 'supergroup' Royal Limp and her label FatCat, who threw the party as part of their Furballs series, had the chance to assault the accumulated audience with her niche sound. And assault she did.

As is custom, however, we should look at the night chronologically, with Royal Limp the first on, playing to an already amassing audience. This was only their second gig, though they name a multitude of Brighton staples past and present as members (the owners of label/promoters Sex Is Disgusting (RIP), Keel Her and 1/3 of Sealings to start...) and their collective influences and styles are evident from the start.

Distinct personalities in a band can be a great thing, though often limiting, as was hinted at tonight. While most songs dazzled, each new song seemed to start off with a totally new idea and direction for the band. The opener sounded like My Bloody Valentine if they'd started jamming after listening to Neu! 2 on repeat for a few hours, while the second (a cover of a Keel Her track if my notes serve me well) sounded like the culmination of everything Bethany Corsentino has been trying to do for the last however many years. And so it went, a collection of impressive tracks lacking the resolution of a full established band. Which is hardly a criticism for a band only now on their second gig - Royal Limp is certainly a name to be remembered for 2013.

Following them, after a rather eclectic and wonderful DJ set from FatCat, was Slim Twig. Sort of. The first few tracks sans Mr Twig we're told are Zacht Automaat which, while nice, are somewhat superfluous to the evening. Indeed, when Max Turnball's alter ego takes to the stage we are treated to a far more impressive and full sound.

Slim Twig does nothing but dazzle on stage. Flowing through a strong set that sounded like The Wailers or The Monks if they'd formed under guidance of Mark E Smith and David Bowie the band showed another level. As 20 Jazz Funk Greats aptly stated on twitter on the night, "We need more organ driven punk rock that's for sure."

After a brief interlude our headliner Meghan took to the stage to sing alongside the already assembled Slim Twig et al. Ripping into wonderful, driven versions of 'Work From Home' followed by 'North on 45' she did not miss an opportunity to impress. Far louder and more full for the stage than on Gem, her sound was really bolstered by her band and brought a heaviness to the show in place of the subtleties of the production on the album.

The only slight disappointment in an otherwise dazzling set was the lack of new material. Resting current single 'Slim Baby', her first single from the album 'Jack' and all other album tracks in favour of older material and a (very good) Captain Beefheart cover seemed an odd way to construct her set. While the songs played were impressive - and the whole, slightly shortened (due to curfew), set was brilliant - it was a slightly puzzling set of songs.

What was clear, however, was the brilliance of her performance in a way that complimented her album rather than trying to lay with it. Gem (and her sound in general) did run the risk of sounding dead on stage with all of its nuances and subtleties; a problem Meghan and the rest of the band firmly buried. Gem is certainly an album that deserves more than annals of time, and U.S. Girls as an act certainly deserve to be seen.